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Digitized  by  the  Internet  Archive 

in  2011  with  funding  from 

Research  Library,  The  Getty  Research  Institute 


http://www.archive.org/details/catalogueofpaint01yerk 


THE  YERKES  COLLECTION 

VOLUME  I 


NO.  \    1-8  OF   TWO    HUNDRED    AND    FIFTY   COPIES. 

PHOTOGRAVURES  BY 
A.   W.    ELSON    iff   CO.,   BOSTON. 


Catalogue 


OF 


Paintings  and  Sculpture 


IN  THE  COLLECTION  OF 


CHARLES  T.  YERKES    ESQ. 

New  Y'ork 


VOLUME 
I 


MDCCCCIV 


COPYRIGHT,   I9O4,  BY  CHARLES  T.  YERKES 


INTRODUCTION 

In  bringing  this  catalogue  before  my  friends  I  do  so  with  much  hesitation, 
mainly  on  account  of  the  great  difficulty  which  all  collectors  have  in  naming 
the  artists  who  have  painted  the  pictures.  Where  the  signature  of  such  artist 
is  not  on  the  picture  there  can  be  no  certainty  of  its  authenticity  unless  there 
is  direct  evidence  of  some  one  who  has  seen  it  painted  and  has  also  com- 
municated such  evidence  to  people  who  have  lived  after  him  ;  and  even 
where  the  name  is  so  found  on  the  picture  it  is  possible  that  it  may  have  been 
placed  there  by  some  one  other  than  the  artist,  and  fraudulently.  Then,  again, 
there  are  many  painters  who  never  sign  a  picture,  and  we  are  left  to  the  opin- 
ion of  the  so-called  expert,  whose  testimony  is,  to  say  the  least,  doubtful.  There- 
fore while  I  have  taken  the  best  evidence  at  hand  for  the  authentication  of  my 
pictures,  it  must  not  be  understood  that  I  am  sure  that  the  names  attached  to 
them  are  the  correct  ones.  Where  I  have  had  grave  doubts  myself  I  have  so 
designated,  and  only  placed  the  name  where  /  have  felt  it  was  quite  certain  to 
be  correct. 


ARTISTS  AND  TITLES 

PAINTINGS     BY  OLD     MASTERS 

Bartoli,  Taddeo The  Adoration i 

Bol,  Ferdinand Portrait  of  a  Man 2 

Both,  Jan Sunset 3 

Botticelli,  Alessandro Madonna  and  Child,  St.  John  and  an 

Angel 4 

Boucher,  Francois The  Toilet  of  Venus 5 

Bouts,  Dirck The  Adoration  of  the  Magi .     ...  6 

Brueghel,  Peeter  Levieux A  Thief  steals  from  a  Thief     ...  7 

«                «              "              Fill  the  Well  after  the  Calf  is  drowned  8 

"                "              "              The  Bacon  is  too  Good  for  your  Mouth  9 

"                "              "              As  Full  as  an  Egg 10 

Bronzino,  Agnolo Portrait  of  a  Lady 11 

Brussels,  School  of  (artist  unknown)     .     .     Virgin  and  Child 12 

Clouet,  Jean Portrait  of  a  Man 13 

Corneille,  Claude Portrait  of  Francois  Dauphin  deVien- 

nois,  Due  de  Bretagne      .     .     .     .  14 

Craesbecke,  Joost  van The  Alchemist 15 

"                  "        " Portrait  of  a  Man 16 

Cuyp,  Aelbert Landscape  with  Man  on  Dappled  Horse  17 

David,  Gerard The  History  of  St.  Augustine    ...  18 

Denner,  Balthasar Head  of  an  Old  Woman 19 

Dou,  Gerard The  Evening  School 20 

"            "            The  Hermit 21 

Durer,  Albrecht Portrait  of  Hans  Gunder  of  Nuremberg  22 

Dusart,  Cornelis Peasants  merrymaking 23 

Dyck,  Anton  van Wolfgang,  Duke  of  Nieubourg  ...  24 

Eyck,  van,  School  of  (artist  unknown)        .     Adoration  of  the  Magi 25 

Flinck,  Govaert Tobias  and  the  Angel 26 

Gellee,  Claude  (Claude  Lorrain)                  .     A  Seaport 27 

Ghirlandajo,  Domenico Portrait  of  a  Young  Girl     ....  28 

Goyen,  Jan  van On  the  River 29 

"         "       "         Village  on  the  River 30 

"         "       "         Landscape  by  the  River 31 


Greuze,  Jean  Baptiste Reverie 32 

Guardi,  Francesco Grand  Canal  at  Venice ■$•$ 

"                  "               Wedding  of  the  Doge 34 

Hals,  Frans Portrait  of  a  Woman 35 

"            "           The  Singers 36 

"            "           The  Violin  Player 37 

"            "           The  Singing  Girl 38 

Harlow,  George  Henry Portrait  of  a  Boy 39 

Heyden,  Jan  van  der Market  Day  in  Rotterdam  ....  40 

"      "      "        The  Village 41 

"       "      "         The  Old  House 42 

Hobbema,  Meindert A  View  in  Westphalia 43 

The  Mill 44 

The  Ford 45 

The  Old  Mill 46 

"                  "           (attributed  to)  .     .     .  Threatened  Storm  in  Summer     ...  47 

"                  "           The  Road  to  the  Cottage       ....  48 

Hooch,  Pieter  de The  Social  Glass 49 

"              "       "         The  Music  Party 50 

"              "       "         An  Interior 51 

Holbein,  Hans  (The  Elder) The  Fool 52 

Holbein,  Hans  (The  Younger)      ....     Portrait  of  a  Lady 53 

"              "           "           "              ....  Portrait  of  a  Chief  Magistrate  of  Am- 
sterdam    54 

Keyser,  Thomas  de Portrait  of  a  Gentleman 55 

Landseer,  Sir  Edwin  Henry The  Pets 56 

Luini,  Bernardino The  Mystic  Marriage  of  St.  Catherine  57 

M abuse,  Jan  van .           Madonna  and  Child 58 

Memling,  Hans Virgin  and  Child  Enthroned      ...  59 

Metsu,  Gabriel The  Letter 60 

"              "            Woman  cleaning  Carrots      .     .     .     .  61 

Mieris,  Frans  van Boy  blowing  Bubbles 62 

"              "                 Portrait  of  a  Lady 63 

Mignon,  Abraham Fruit 64 

Neer,  Aert  van  der Dutch  Channel  by  Moonlight     ...  65 

"      " Twilight 66 

Neer,  Eglon  Hendrick.  van  der       .     .     .     Lady  and  Child 67 

Ostade,  Adriaen  van The  Old  Toper 68 

"                "           "         The  Skittle  Players 69 

"                "           "         Dancing  to  Music .     .     .     .     „     .     .  70 


Ostade,  Adriaen  van Dancing  in  the  Barn 71 

"                "           "         Interior  of  Room  with  Men  drinking  72 

Ostade,  I  sack  van Interior  of  a  Stable     ......  73 

"            "        "         The  Itinerant  Musician 74 

Patiner,  Joachim  de The  Apostles  after  the  Crucifixion  wor- 
shiping in  a  Cave 75 

Pinturricchio  (Bernardino  di  Betti)  .     .  Portrait  of  desar  Borgia     ....  76 

Potter,  Paulus The  Red  Bull 77 

"              " Landscape  with  Cattle  and  Figures    .  78 

Previtali,  Andreas Virgin  and  Child 79 

Raphael  Sanzio The  Holy  Family  and  the  Sparrow     .  80 

Rijn,  Rembrandt  van Philemon  and  Baucis 81 

"              "         Portrait  of  a  Rabbi 82 

"               "              "        Resurrection  of  St.  Lazarus      ...  83 

"               "              "         Portrait  of  Joris  de  Coulery      ...  84 

Reynolds,  Sir  Joshua Portrait  of  Lady  O'Brien    .     .     .     .  85 

Romney,  George Portrait  of  Mrs.  Ralph  Wiilett     .     .  86 

Rubens,  Pieter  Paulus Ixion  and  Hera 87 

Ruisdael,  Jacob  van Landscape 88 

Solario,  Andreas  de The  Annunciation 89 

Stavern,  Johan  Adriaensz  van   ....      The  Hermit 90 

Steen,  Jan The  Siesta 91 

"          " Christ  driving   the  Traders  from  the 

Temple 92 

"          " The  False  Players 93 

"          " Boors  merrymaking 94 

Susterman,  Lambert Portrait  of  a  Medici  Princess  ...  95 

Teniers,  David  (The  Younger)     ....     The  Lesson  on  the  Flute 96 

"         «             ....     The  Guard  Room 97 

"               "            "         "              ....  Temptation  of  St.  Anthony   ....  98 

Ter  Borch,  Gerard The  Glass  of  Lemonade 99 

Unknown  ARTist Landscape 100 

Velde,  Adriaen  van  de Landscape  with  Figures  and  Cattle    .  101 

"     " Noon-Day  Rest 102 

Velde,  Willem  van  de  (The  Younger)  .     .     Calm  on  the  Bay 103 

"     "       "            "...     Firing  a  Salute 104 

Verrocchio,  Andrea  del Madonna  and  Child 105 

Waterloo,  Anthonie In  the  Forest 106 

Watteau,  Antoine The  Garden  Party 107 

Wouwerman,  Philips The  Watering  Place  .     .     .     .     .     .108 

Wynants,  Jan Landscape 109 


PAINTINGS  BY  OLD  MASTERS 


[No.  i  ] 
TADDEO    BARTOLI 

Born  in  Siena  about  1363  ;  died  there  1422.  He  was  the  son  of  a  barber.  The  earliest 
specimen  of  his  work  is  now  in  the  Louvre  and  is  an  altar-piece  of  the  Virgin  and  Saints 
painted  for  San  Paolo  of  Pisa,  dated  1390. 

He  painted  other  altar-pieces  and  frescoes  at  Pisa,  Genoa,  and  Siena.  Although  he  main- 
tained the  standard  of  the  Sienese  School  by  his  excellent  paintings,  he  did  not  cause  any 
progress  to  be  made. 


[No.  i] 


"THE  ADORATION" 


TADDEO    BARTOLI 

The  Virgin  is  sitting  in  the  upper  part  of  the  picture  with  her  hands  raised  in 
an  attitude  of  supplication.  Surrounding  her  head  are  angels  with  red  wings 
outstretched.  Below  these  there  are  other  angels,  numbering  nineteen  in  all. 
At  the  bottom  of  the  picture  at  right  and  left,  kneeling  with  upturned  heads 
and  eyes,  are  two  figures.  Between  these  two  figures  is  the  following  inscrip- 
tion in  ancient  Latin  :  "  Andreas  Bartoli  de  magisri  fredi  de  senis  pinxit  hoc 
opus  fecit  fieri  dmia  honesta  uxor  qdam  Ser  Palamides  de  Urbino  pro  aiabus 
diti  uiri  sui  Matheifilii  exode." 
From  the  collection  of  the  Baron  Lazzaroni,  Lazzaroni,  Rome. 

Panel,  half-round  top,  33 y2  in.  long  by  79^  in.  high. 


[No.  2] 

FERDINAND  BOL 
SDutcf)  £rfjool 

Born  at  Dordrecht  in  1611  ;  died  in  Amsterdam  in  1681.  He  went  when  a  child  to 
Amsterdam,  his  future  home,  studied  under  Rembrandt,  was  made  a  citizen,  and  mar- 
ried in  1653  Elizabeth  Dell. 


[No.  2] 


"PORTRAIT    OF    A    MAN" 


FERDINAND    BOL 

The  picture  is  half  length,  representing  a  man  sitting  upon  a  table  with  his 
hands  one  over  the  other.  He  wears  a  velvet  hat,  and  a  velvet  cloak  trimmed 
with  fur  thrown  over  his  shoulders.  He  has  a  mustache  and  imperial.  The 
picture  has  often  been  taken  for  a  Rembrandt,  but  the  owner  is  very  sure  it  is 
a  Bol. 

Canvas,  28  yi  '"•  long  by  34^  in.  high. 


[No.S] 

JAN    BOTH 
2Dutcf)  c§>cfjool 

Born  at  Utrecht,  1610;  died  after  1662.  Pupil  of  his  father,  who  was  a  glass  painter. 
He  adopted  the  manner  of  Claude  Lorrain.  His  brother,  Andries,  painted  figures  and 
animals  in  his  pictures. 


[No.3] 


"SUNSET" 


JAN    BOTH 

The  sun  has  just  descended  behind  the  high  hills  in  the  distance.     Its  light  is 

reflected,  not  only  on  the  horizon,  but  over  the  entire  landscape.     A  train  of 

pack-mules  in  charge  of  two  drivers  —  painted  by  Andries  Both  —  are  winding 

their  way  along  a  rocky  road.      Large  trees  are  on   the   right  of  the  picture, 

while  to  the  left  the  landscape  stretches  out  in  the  distance. 

From  the  Armengand  collection. 

Signed  in  lower  right-hand  corner :   "J.  Both." 

Canvas,  21*4  in.  long  by  zty2  in.  high. 


[No.  4] 

ALESSANDRO  BOTTICELLI  (SANDRO) 

f  loztntmc  £rijooI 

Born  in  Florence  1446;  died  there  May  17,  1510. 

His  real  name  was  Alessandro  di  Mariano  Filipepi,  but  he  took  the  name  of  Botticelli 

from  his  master  goldsmith,  to  whom  he  was  apprenticed. 

In  1469  he  was  considered  the  best  master  in   Florence.     He  is  the  only  contemporary 

whom  Leonardo  da  Vinci  mentions  by  name  in  his  treatise  on  painting. 


[No.  4] 


"MADONNA    AND    CHILD,    ST.    JOHN    AND    AN 

ANGEL" 


ALESSANDRO    BOTTICELLI    (SANDRO) 

This  is  a  circular  picture  containing  Christ  in  the  arms  of  the  Virgin  Mary. 
On  one  side  is  St.  John  the  Baptist  and  on  the  other  an  angel.  Over  the  Vir- 
gin's head  falls  a  light  scarf,  part  of  which  entwines  the  head  of  the  Infant 
Christ.  The  Virgin's  dress  is  of  dark  crimson,  and  over  this  is  thrown  a  dark 
blue  cloak.  St.  John  is  on  the  left  side  of  the  picture  in  the  attitude  of  prayer, 
while  the  angel  standing  with  his  hands  folded  is  adoring  the  Christchild. 
From  Gallery  del  Nero,  Rome. 

Painted  in  distemper  on  panel,  29  in.  in  diameter. 


[No.S] 

FRANCOIS    BOUCHER 
frerttf}  *£>cf>ooI 

Born  in  Paris,  September  29,  1703  ;  died  there  May  30,  1770.  Mostly  self-taught. 
Obtained  the  first  prize  at  the  Academy,  1723.  Became  Professor  in  the  Academy, 
1737;  Director  in  1765.  Was  appointed  First  Painter  to  the  King  after  the  death  of 
Carl  van  Loo. 


[No.  S] 
"THE    TOILET    OF    VENUS" 

FRANCOIS    BOUCHER 

Surrounded  by  Cupids  and  her  attendants,  Venus  has  submitted  herself  for  her 
toilet.  She  is  nude,  and  is  gazing  into  a  looking-glass  supported  by  a  piece  of 
blue  ribbon  held  in  the  hands  of  one  of  the  Cupids.  Another  Cupid  lies  on 
the  ground  in  front  of  her  ;  an  attendant  is  arranging  pearls  in  her  hair  ;  while 
another,  with  back,  turned,  holds  a  string  of  the  same,  ornaments.  In  the  rear 
the  face  of  another  attendant  can  be  seen.  To  the  right  is  a  casket  filled  with 
jewels.  In  the  foreground  two  doves  are  "  billing." 
Collection,  Prince  Demidoff,  1870. 
Signed  on  the  right-hand  side  :   "  F.  Boucher,  1742." 

Canvas,  58  in.  long  by  49  in.  high. 


[No.  6] 

DIRCK    BOUTS 
2Dutd)  £djool 

Born  1440;  died  May  6,  1475.  Called  also  Stuerbout.  His  family  settled  in  Louvain 
about  1450.  History  painter  of  great  merit  of  the  Van  Eyck  school,  of  which  he  is 
almost  unequaled  in  glowing  depth  and  transparent  clearness  of  color. 


[No.  6] 


"THE    ADORATION    OF    THE    MAGI" 


DIRCK    BOUTS 

The  Virgin  is  sitting  at  the  left  of  the  picture,  holding  the  Infant  Jesus.  She  is 
dressed  in  a  blue  robe,  the  upper  part  covered  with  white,  and  a  white  turban  on 
her  head.  Behind  her  stands  Joseph,  dressed  in  a  short  red  frock.  On  a  table 
beside  the  Virgin  is  a  vase.  One  of  the  wise  men  is  standing,  his  hands  raised 
in  supplication.  In  the  centre  of  the  picture  is  another  of  the  wise  men  coming 
through  the  archway,  bearing  a  present.  He  holds  his  right  hand  to  his  hat  and 
in  his  left  hand  carries  his  gift. 

The  picture  is  almost  divided  into  three  parts,  the  right-hand  part  containing 
a  number  of  figures.  A  white  horse  and  also  another  horse,  both  without 
riders,  are  in  the  background.      Beyond  is  a  landscape. 

Panel,  52  in.  long  by  36*4  '"■  h'gh. 


[No.7] 
PEETER    LEVIEUX    BRUEGHEL 

Born  at  Brueghel,  near  Breda,  between  1525  and  1530;  died  in  Brussels  about  1569. 
Pupil  of  Pieter  Koeck  van  Aalst  and  of  Hieronymus  Cock.  His  specialty  was  delineating 
the  Flemish  proverbs.  He  imitated  Hieronymus  Bosch.  He  became  master  of  the 
Guild  in  Antwerp  in  1 55 1.  He  went  to  Italy,  and  on  his  return  lived  at  Antwerp  until 
1563,  when  he  settled  in  Brussels. 


[No.7] 


"A    THIEF    STEALS    FROM    A    THIEF" 

PEETER    LEVIEUX    BRUEGHEL 

A  thief,  disguised  as  a  monk,  is  passing  along  the  road.  An  odd-looking 
man  approaches  him  stealthily,  and  cuts  from  beneath  his  gown  a  bag  of 
money. 

Panel,  7  in.  in  diameter,  circle. 


[No.S] 

PEETER    LEVIEUX    BRUEGHEL 
f  lemiglj  &cfjool 


[No.  8] 


"FILL  THE  WELL  AFTER  THE  CALF  IS  DROWNED" 


PEETER    LEVIEUX   BRUEGHEL 

A  burly   peasant   is  endeavoring  to  fill   the  well  after   he   has  lost  his  calf. 
The  calf's  head  shows  above  the  dirt. 

Panel,  J  in.  in  diameter,  circle. 


[No.g] 

PEETER    LEVIEUX    BRUEGHEL 
f  lcmi£f>  £$00! 


[No.g] 


"THE   BACON   IS   TOO   GOOD   FOR  YOUR    MOUTH" 

PEETER   LEVIEUX    BRUEGHEL 

A  portly  fellow  is  shown  sitting  on  a  stool  beside  a  house.  Near  him  is  his 
repast  on  the  head  of  a  cask.  In  one  hand  he  holds  a  large  sausage,  and  in 
the  other  a  knife  with  which  to  cut  it. 

Panel,  7  in.  in  diameter,  circle. 


[No.  i o  ] 

PEETER    LEVIEUX    BRUEGHEL 
f  lemigfj  £ri)ooI 


[  No.  10  ] 


"AS    FULL    AS    AN    EGG" 

PEETER    LEVIEUX   BRUEGHEL 

An  old  toper  is  seen  astride  of  a  large  egg.  His  head  is  thrown  back,  and  he 
is  emptying  the  contents  of  a  mug  into  his  mouth.  The  head  of  a  figure  is 
seen  inside  the  egg. 

Panel,  7  in.  in  diameter,  circle. 


[No.  1 1  ] 

AGNOLO    BRONZINO 
f  lorentme  £ri>ooI 

Born  at  Monticelli,  near  Florence,  in  1502  or  1503;  died  in  Florence,  November 
23,  1572. 

His  real  name  was  Agnolo  di  Cosimo  Allori,  but  commonly  called  II  Bronzino.  Pupil 
of  Raffaelino  del  Garbo,  and  later  of  Jacopo  da  Pontormo.  He  was  a  great  admirer  of 
Michael  Angelo.  Some  of  his  works  show  his  influence,  though  he  was  not  one  of  his 
imitators.  His  portraits  of  members  of  the  Medici  family  and  of  many  distinguished 
men  of  his  time  are  among  his  best  works  and  among  the  finest  of  the  sixteenth  century. 


[No.  ii] 


"PORTRAIT    OF    A    LADY" 

AGNOLO    BRONZINO 

The  lady  wears  a  dark  low-cut  crimson  gown,  with  lace  filled  in  across  the 
neck  and  shoulders.  The  dress  has  dark  sleeves.  She  is  sitting  at  a  table 
covered  with  a  red  cloth.      An  open  book  is  before  her. 

Panel,  26^2  **.  long  iy  iS%  '"•  high. 


[No.  12] 

ARTIST    UNKNOWN 
£ct)ooI  of  23rug£rig 


[No.  12] 


"VIRGIN  AND  CHILD" 


SCHOOL    OF   BRUSSELS 

The  Virgin  holds  the  child  in  her  hands,  while  he  is  playing  with  a  little  bird. 
A  red  mantle  is  thrown  partly  over  her  head  and  shoulders,  and  she  wears  a 
black  velvet  dress  trimmed  with  fur.  In  front  of  her  on  a  table  is  an  illuminated 
book  and  a  bunch  of  grapes.  To  the  left  is  a  window,  the  glass  of  which  is 
composed  of  disks  set  in  metal  frames.  On  the  window-sill  is  a  glass  filled  with 
flowers. 

Panel,  10^  in.  long  by  12^  in.  high. 


[No.  13] 

JEAN    CLOUET 
f  tcnt§  £cf)ool 

Born  about  1485  ;  died  about  1541.  Son  of  Jehan  Clouet,  of  Brussels.  He  was  com- 
monly called  Janet.  Settled  first  in  Tours,  and  afterward  in  Paris.  Became  painter  and 
valet  de  chambre  to  Francis  I.,  in  151 8. 


[No.  13] 


"PORTRAIT    OF    A    MAN" 

JEAN    CLOUET 

A  very  strong  face,  adorned  with  a  full  red  beard  and  mustache,  is  here  pre- 
sented.    The  individual  wears  a  coat  of  dark  fur  resembling  sealskin,  and  a 
low  crown  hat  of  black  velvet. 
From  the  collection  of  Horace  Walpole,  Strawberry  Hill,  1842. 

Panel,  5^  in.  long  by  6^  in.  high. 


[No.  14] 

CLAUDE    CORNEILLE 
frcncf)  J>cf)ool 

Born  in  the  early  part  of  the  16th  century,  and  died  about  1576.  He  was  called 
Corneille  of  Lyons.  He  enjoyed  great  reputation  for  his  portraits  —  which  were  usually 
of  small  size  and  pale  in  color  —  during  the  reigns  of  Francis  I.,  Henry  II.,  Francis  II., 
and  Charles  IX. 


[  No.  14  ] 


«  PORTRAIT  OF  FRANCOIS,  DAUPHIN  DE  VIENNOIS, 

DUC   DE   BRETAGNE" 

(Son  of  King  Francis  I.  and  of  Claude  of  France.) 

CLAUDE    CORNEILLE 

The  subject  was  born  at  Chateau  d'Amboise,  February  28,    15 17,  and  made 

Due  de  Bretagne,  at  Nantes,  August   14,  1532;  died  by  poison,  at  Valence, 

August  1,  1536.      The  picture  represents  him  as  a  grown-up  boy  with  a  pale, 

sad  face,  brown  eyes,  and  the  suggestion  of  a  mustache.      He  wears  a  dark 

coat,  which  is  slightly  opened  at  the  breast,  and  a  small  lace  collar.      On  his 

head  is  a  dark  cap  of  soft   material,  ornamented    with    two   drooping  white 

feathers. 

From  the  collection  of  M.  de  Gagniers. 

Also  from  the  collection  of  Horace  Walpole,  Strawberry  Hill. 

Pane/,  6  in.  long  by  7  in.  high. 


[No.  15] 

JOOST   VAN    CRAESBECKE 
iFIemisffj  J>rfjooI 

Born  at  Neerlinter  in  South  Bravant  in  1608.  The  date  of  his  death  is  not  known, 
but  it  must  have  been  prior  to  1662.  He  was  the  pot  companion  and  pupil  of  Adriaen 
Brouwer.  He  was  bred  a  baker  and  had  settled  at  Antwerp  in  that  capacity  at  the  time 
when  Brouwer  visited  that  city.     He  was  also  a  pupil  of  Rubens. 


[No.  i5] 


"THE    ALCHEMIST" 


JOOST  VAN    CRAESBECKE 

A  doctor's  office  is  displayed  opening  into  a  portico.  On  the  table  is  an 
open  book  standing  against  the  wall,  beside  which  is  a  skull,  suggesting  the 
occupant's  profession.  On  the  wall  four  pictures  are  hung.  The  doctor  is  clad 
in  a  bright  red  gown,  and  holds  in  his  hand  a  carafe  containing  some  liquid, 
through  which  he  is  looking  as  he  holds  it  to  the  light.  A  little  boy  stands 
by  his  mother,  intently  gazing  at  the  wise  man. 

Pane/,  19%  in.  long  by  251^  in.  high. 


[No.  16] 
JOOST  VAN  CRAESBECKE 


[No.  16  ] 


«  PORTRAIT    OF    A    MAN  " 


JOOST   VAN    CRAESBECKE 

This  picture  represents  a  man  dressed  in  a  dark  coat  or  cassock,  with  white 
neckcloth  and  cuffs.  He  is  full-faced,  with  a  mustache  and  slight  imperial;  and 
curly  brown  hair  falls  over  his  neck  and  shoulders.  His  left  arm  rests  upon  a 
table. 

Panel,  oval,  8^  >"•  l°nS  h  IOT/&  '*•  high. 


[No.  17] 

AELBERT  CUYP 
Dutch  School 

Born  at  Dordrecht,  October,  1620;  died  there  and  buried  November  6,  1691.  Land- 
scape, animal,  and  marine  painter.  Son  and  pupil  of  Jacob  Gerritsz  Cuyp. 
Lived  many  years  at  Dordwijk,  near  Dordrecht,  where  as  vassal  of  the  countyship  of  Hol- 
land he  had  the  right  to  sit  in  the  Supreme  Court  of  Justice.  His  name  was  presented 
to  the  stadtholder  William  III.  in  1672  as  a  nominee  for  membership  in  the  Regency  of 
Dordrecht.  In  his  early  years  he  painted  still  life,  birds,  stables,  and  sometimes  portraits 
signed  "  A.  C." 


[No.  17] 


"LANDSCAPE   WITH   MAN   ON   DAPPLED   HORSE" 


AELBERT    CUYP 

The  picture  shows  two  men  on  horseback,  —  one  in  the  foreground  wearing  a 
red  coat  sitting  on  a  gray  horse,  and  another  in  the  background  on  a  bay 
horse.  He  wears  a  dark  coat.  A  man  and  two  dogs  stand  to  the  left.  Men- 
tioned in  "Smith's  Catalogue,"  part  v.,  page  334,  number  174,  as  follows  :  "A 
gentleman  in  a  scarlet  jacket,  mounted  on  a  spotted  gray  horse,  at  the  head  of 
which  stands  a  gentleman  in  brown  dress  with  two  dogs  by  his  side.  A  third 
gentleman  is  seen  on  the  left  on  a  bay  steed  galloping  from  a  wood.  Now  in 
the  collection  of  Mr.  Gates." 
Signed  in  the  lower  right-hand  corner  :   "  A.  C." 

Panel,  1 5  y^  in.  long  by  u}£  in.  high. 


[No.  18  ] 
GERARD    DAVID 

Born  at  Oudewater  about  1450;  died  in  Bruges,  August  13,  1523.  Took  the  freedom 
of  the  Guild  in  Bruges  in  1484;  was  its  Dean  1501-1502.  Appears  also  in  the  Guild  of 
Antwerp,  151 5. 


[No.  18] 


"THE    HISTORY  OF    ST.    AUGUSTINE" 


GERARD    DAVID 


This  picture  is  in  three  parts.  The  centre  part  represents  St.  Augustine  receiv- 
ing the  Pope's  hat.  He  is  sitting  in  an  attitude  of  supplication.  A  cardinal  on 
either  side  holds  the  hat  above  his  head  while  two  other  figures  at  either  side 
hold  a  staff.  In  front  and  at  the  sides  kneel  two  friars  dressed  in  white ;  one 
stands  holding  vessels  of  church  worship.  The  altar  is  at  the  rear  of  the 
figures.  In  this  part  there  are  all  together  eleven  figures.  At  the  right  of  the 
picture  there  are  six  figures,  prominent  among  them  a  man  in  green  and  a 
man  in  red.  Behind  them  a  house  and  landscape  are  seen.  To  the  left  are 
eight  figures  in  the  foreground,  and  four  figures  in  the  background.  There  is 
also  a  house  with  a  cupola  adjoining  it  in  the  background. 
This  painting  was  originally  owned  by  the  Comtesse  de  Beam,  Paris. 

Panel,  59  in.  long  by  53  in.  high. 


[No.  19] 

BALTHASAR    DENNER 
German  £djool 

Born  at  Altona,  November  15,  1685  ;  died  in  Rostock,  April  14,  1749.  Studied  under 
obscure  masters  in  Altona  and  Dantzic ;  then  in  1707  at  the  Berlin  Academy.  In  1709 
he  began  his  career  by  painting  the  portraits  of  Duke  Christian  Augustus  of  Holstein  and 
his  sister.  At  the  age  of  twenty-four  his  name  was  famous,  and  he  received  numberless 
orders  from  princes  and  nobles  of  northern  Germany,  Denmark,  Holland,  and  England, 
which  he  executed  with  microscopic  accuracy  and  infinite  elaboration  of  detail. 


[No.  19] 


"HEAD    OF    AN    OLD    WOMAN" 

BALTHASAR    DENNER 

This  is  a  life-size  bust  of  an  old  woman  clad  in  a  wine-colored  velvet  cloak 
trimmed  with  gray  fur.  Her  head  is  covered  with  a  white  kerchief  which 
also  envelops  her  neck,  and  covering  the  kerchief  is  a  blue  velvet  head-dress. 
The  dress  is  open  at  the  throat,  showing  the  aged  neck.  Her  face  has  many 
wrinkles,  and  her  eyes  are  a  light  blue,  into  whose  depths  one  can  see  as  clearly 
as  if  the  portrait  were  life  itself. 
Signed  in  the  lower  right-hand  corner:   "  Denner." 

Copper,  1  3  in.  long  by  1  ;  in.  high. 


[  No.  20  ] 

GERARD    DOU 

Durrti  ^cfiool 

Born  at  Leyden,  April  7,  1613  ;  died  there,  February  9,  1675.  Pupil  of  Bartholomew 
Dolendo,  and  also  of  Rembrandt,  in  1628.  His  work  was  of  a  fine  character  and  has 
always  been  greatly  admired. 


[  No.   20  ] 


"THE    EVENING    SCHOOL" 


GERARD    DOU 

An  old  schoolmaster  is  shown  sitting  at  a  table,  busily  engaged  sharpening  a 
quill  pen.  A  single  candle  lights  the  room.  One  of  his  scholars  —  a  little 
girl  —  is  studying  her  book  ;  another  pupil  —  a  boy  —  is  writing  ;  and  still 
another  boy  is  holding  an  unlighted  candle  to  the  one  already  lighted.  In  the 
background  a  woman  holds  a  lantern.  The  whole  scene  is  in  the  master's 
finest  vein,  and  can  only  be  fully  appreciated  when  seen  under  a  strong  glass. 

Pane!,  half-round  top,  9  in.  long  and  I  o  in.  high. 


[No.  21  ] 

GERARD    DOU 
SDutrf)  £rf)ool 


[No.  21  ] 


"THE    HERMIT" 


GERARD    DOU 

This  picture  is  described  in  Smith's  Catalogue  Raisonne,  Part  I.  No.  84,  as 
follows :  "  A  venerable  hermit  in  a  cell  perusing  a  large  book.  In  his  left 
hand  he  holds  a  pair  of  spectacles,  and  with  his  right  is  raising  the  leaves  of  a 
book,  as  if  about  to  turn  over  a  page.  The  trunk  of  a  withered  tree  fills  up  the 
left  of  the  subject.  This  production  has  been  considerably  enlarged.  Originally 
all  that  was  shown  was  the  head  of  the  hermit,  which  was  painted  with 
extraordinary  care  and  fine  effect.  The  exquisiteness  of  the  work,  no  doubt, 
induced  the  artist  to  increase  the  size  of  the  picture,  and  give  it  the  develop- 
ment and  finish  it  now  presents.  Collection  of  M.  Tronchien,  1  801.  Collection 
of  M.  Sereville,  181 1.  Now  in  possession  of  M.  Woodburns." 
In  the  opinion  of  the  writer  the  above  statement  is  incorrect,  as  it  is  quite  evi- 
dent that  the  head  was  never  painted  without  surroundings.  It  is  more  likely 
that  some  part  of  the  picture  got  very  badly  injured  and  the  head  was  cut  out, 
placed  in  another  panel,  and  Dou  then  painted  the  surroundings  as  they  are 
now. 

Panel,  12  in.  long  by  16%  in.  high. 


[  No.   22  ] 

ALBRECHT  DURER 
German  £cl)ool 

Born  in  Nuremberg,  May  21,  147 1  ;  died  there,  April  6,  1528.  History  and  portrait 
painter  and  engraver. 

Son  of  a  goldsmith,  who  first  instructed  him  in  his  trade,  and  then  apprenticed  him  to  the 
painter  Michael  Wolgemuth  for  three  years  and  a  half,  after  which,  in  1490,  he  visited 
Strasburg,  Colmar,  Basle,  and  Venice,  where  he  was  much  impressed  by  the  works  of 
Andrea  Mantegna.  Returning  home  about  1494,  he  married  Agnes  Frey,  and  probably 
worked  in  Wolgemuth's  studio  until  1497,  when  he  removed  to  an  atelier  of  his  own, 
where  during  the  succeeding  eight  years  he  produced  a  large  number  of  pictures,  wood- 
cuts, and  engravings.  From  1505  to  1507  he  lived  at  Venice,  where  he  felt  the  charm 
of  the  Italian  Renaissance  masters,  Bellini  and  Mantegna,  whose  influence  he  showed 
in  his  subsequent  works.  Shortly  after,  he  returned  to  Nuremberg.  From  15 12  he 
worked  for  the  Emperor  Maximilian  as  court  painter.  In  1 5 1 5  Nuremberg  assigned 
him  a  yearly  pension  of  100  gulden. 

He  attended  the  coronation  of  Charles  V.  at  Aix-la-Chapelle,  and  obtained  the  appoint- 
ment of  court  painter  before  his  return  to  Nuremberg,  where  he  continued  to  work 
until  his  death. 


[  No.   22  ] 


"PORTRAIT   OF   HANS    GUNDER  OF   NUREMBERG" 

ALBRECHT  DURER 

The  picture  represents  a  portrait  of  Hans  Gunder  of  Nuremberg  painted  in  the 

year  1509.      It  is  a  striking  picture  of  head  and  bust  on  a  red  background.     His 

eyes  are  light  blue ;  his  coat  is  open  at  the  neck  ;  one  lapel  is  partly  folded  over. 

This  picture  was  purchased  from  B.  Purgen  of  Nuremberg. 

From  the  collection  of  H.  d'Anslan. 

Signed  in  upper  right-hand  corner  :  "  A.  D.  "  (in  monogram). 

Panel,  I  3  ]^  in.  long  by  I  5  j£  in.  high. 


[  No.  23  ] 

CORNELIS    DUSART 

2Dutcf)  £djool 

Born  in  Haarlem  April  24,  1660;  died  there  October  1,  1704.  Genre  painter,  excel- 
lent pupil  and  faithful  imitator  of  Adriaen  Van  Ostade.  Admitted  to  Painters'  Guild 
January  10,  1679. 


[No.  23] 


«  PEASANTS  MERRYMAKING  " 


CORNELIS   DUSART 

There  is  a  merrymaking  in  a  large  room  filled  with  merrymakers.  The  fiddler 
is  standing  in  an  elevated  position  a  little  to  the  left  of  the  centre,  and  a  man 
playing  a  bass  viol  is  standing  beside  him.  A  man  and  a  woman  are  dancing 
in  the  middle  of  the  floor,  a  dog  in  front  of  them  and  a  number  of  people  in 
the  rear.  In  the  front  and  to  the  left  is  a  man  sitting  on  a  bench,  and  between 
him  and  the  large  stained-glass  window  stands  an  older  man  with  a  tall  hat  on 
his  head.  Below  the  window  sit  an  amorous  pair,  the  woman  with  a  glass  in 
her  hand.     The  heavy  wooden  beams  support  the  roof. 

From  the  collection  of  M.  de  Potemkins  ;  also  sale  of  Valentone  Roussel,  Brus- 
sels, 1899. 
Signed  in  lower  right-hand  corner:  "  D.  1524." 

Canvas,  1 6  in.  long  by  IJ^  in.  high. 


[  No.  24  ] 
ANTON    VAN    DYCK 

Born  in  Antwerp,  March  22,  1599  ;  died  in  London,  December  9,  1641.  At  ten  years 
of  age  he  was  apprenticed  by  his  father,  Francis  Van  Dyck,  linen  draper,  to  Hendrik 
Van  Balen,  and  at  sixteen  he  entered  the  studio  of  Rubens  as  his  pupil  and  assistant, 
employed  by  this  great  master  to  prepare  black  and  white  drawings  for  his  pictures  for 
the  use  of  the  engravers  who  worked  under  his  eye  and  to  make  cartoons  from  his 
sketches.  Van  Dyck's  talent  developed  with  astonishing  rapidity.  He  obtained  access  to 
James  I.  through  the  Countess  of  Arundel.  He  painted  the  king's  portrait  at  Windsor. 
In  the  autumn  of  1621  the  king  gave  him  a  horse  and  sent  him  on  a  journey  to  Italy, 
where  Van  Dyck  took  up  his  residence.  Jealousy  of  his  great  success  made  Rome  intol- 
erable, and  he  proceeded  to  Genoa  in  January,  1624,  and  remained  there  until  the  next 
year,  when  he  returned  home.  Rubens  was  very  fond  of  him,  and  bought  several  of  his 
pictures,  which  set  the  tide  running  in  his  favor. 

After  an  unsuccessful  visit  to  England  in  1627,  where  he  failed  to  obtain  presentation 
at  Court  for  want  of  favor  with  the  Duke  of  Buckingham,  Van  Dyck  lived  for  three 
years  at  Antwerp  and  Brussels,  painting  and  etching  a  number  of  pictures  which  have 
become  famous.  In  1630  Charles  I.,  who  had  seen  some  of  his  work,  invited  him  to 
England.  In  April,  1632,  Van  Dyck  obeyed  the  summons,  and  after  he  had  been 
presented  to  the  king  by  Sir  Kenelm  Digby,  painted  his  portrait,  that  of  the  queen,  and 
the  great  picture  of  the  royal  family,  now  at  Windsor. 

In  July  he  was  knighted  and  appointed  court  painter,  and  in  October,  1633,  had  a 
pension  of  ^200  a  year  assigned  to  him.  During  the  next  nine  years  he  painted  nineteen 
portraits  of  the  king,  seventeen  of  the  queen,  as  well  as  many  of  their  children,  at  a  fixed 
price  of  £50  for  half  and  ^ioofor  full  length  figures.  Living  in  a  style  of  splendor  far 
beyond  his  means,  Van  Dyck  became  more  and  more  embarrassed  as  the  troubles  of 
Charles's  reign  thickened,  until  in  1638  he  presented  his  unpaid  claims  to  the  king, 
including  his  pension  for  the  past  five  years,  payment  for  many  portraits  and  for  four 
cartoons  prepared  for  tapestries  at  Whitehall,  which  he  valued  at  the  large  sum  of 
,£80,000.  These  claims  were  but  partially  satisfied  when  he  went  to  France  in  1641. 
Disappointed  and  in  broken  health,  he  returned  to  England  via  Antwerp,  and  on  the  1st 
of  December,  the  birthday  of  his  daughter  Giustiniana,  he  made  his  will,  and  on  the  9th 
he  expired.     He  was  buried  in  St.  Paul's  Cathedral. 


[  No.   24  ] 

"WOLFGANG,   DUKE   OF   NIEUBOURG  " 

ANTON   VAN   DYCK 

The  subject  of  the  picture  is  portrayed  as  a  tall  man  dressed  in  the  style  of  a 
Spanish  grandee.  The  close  political  connection  between  Spain  and  the  Neth- 
erlands at  that  period  doubtless  influenced  the  dress  of  the  Dutch.  He  stands 
with  the  thumb  of  his  right  hand  thrust  through  a  part  of  the  drapery  of  his 
doublet  and  the  thumb  of  his  left  through  the  guard  of  his  sword.  He  is  dressed 
entirely  in  black  and  has  a  closely  cut  beard.  He  wears  broad  cuffs  and  a  large 
white  collar.  Behind  him  to  the  left  is  a  marble  column  and  to  the  right  some 
red  drapery.  A  large  dog,  a  Great  Dane,  brindle  and  white,  is  to  the  left. 
They  both  stand  on  a  red  carpet. 

Mentioned  in  Smith's  Catalogue  Raisonne ;  Part  3,  page  18,  No.  51.  "A  full 
length  portrait  of  Wolfgang,  Duke  of  Nieubourg.  He  is  dressed  in  black.  The 
right  hand  holds  a  ribbon,  which  is  suspended  around  the  neck ;  a  large  dog  is 
standing  by  his  side.  .  .  .  Done  in  lithography  by  Piloti." 
The  picture  here  described  in  Smith's  Catalogue  is  in  the  Munich  Gallery,  and 
differs  somewhat  from  the  picture  in  this  collection  in  being  not  quite  so  large. 

Canvas,  53^  in.  long  by  86  in.  high. 


[  No.  25  ] 

ARTIST    UNKNOWN 
«g>rf)ooI  of  Ban  <£pcfe 


[  No.  25  ] 


"ADORATION    OF    THE    MAGI" 


SCHOOL    OF   VAN   EYCK 

The  Virgin  is  clad  in  a  dress  with  a  blue  bodice  and  a  red  skirt.  Her  golden 
hair  flows  over  her  shoulders,  mingling  with  a  red  scarf.  To  the  left  is  a  man 
in  a  green  coat,  over  which  is  a  richly  embroidered  garment  trimmed  with 
ermine.  His  hat  lies  upon  the  floor,  and  in  his  hand  is  a  jewel  case  filled  with 
jewels  towards  which  the  Christchild  reaches.  Back  of  him  is  an  Ethiopian 
wearing  a  white  turban,  in  whose  hands  are  a  number  of  rich  presents. 
On  the  right  stands  a  man  facing  this  group,  his  back  to  the  spectator.  He 
wears  a  green  mantle  and  carries  a  jeweled  present  in  his  hands.  He  wears 
red  stockings,  and  on  his  head  a  red  cap.  He  has  a  dark-brown  beard.  In 
the  background  is  a  landscape  with  a  river. 

Panel,  28  in.  long  by  35^  in.  high,  curved  top. 


[  No.  26  ] 

GOVAERT    FLINCK 

SDutcf)  <§>cf)ool 

Born  at  Cleves  in  161 5;  died  in  Amsterdam  1660.  His  parents  wished  to  bring  him 
up  to  mercantile  pursuits,  but  he  preferred  to  be  a  painter.  He  was  first  a  pupil  of 
Lambert  Jacobsz  at  Leeuwarden.  About  1650  the  Magistrates  of  Amsterdam  engaged 
him  on  the  paintings  for  the  town  hall.      In  1652  he  became  a  Burgher  for  Amsterdam. 


[  No.  26  ] 


"TOBIAS    AND    THE    ANGEL" 


GOVAERT    FLINCK 

Tobias  is  sitting  with  his  head  thrown  back,  that  his  son,  with  the  guidance  of 
the  angel,  may  apply  restoratives  to  his  eyes  that  his  sight  may  return.  The  son 
is  standing  behind  him  with  his  left  hand  resting  on  his  father's  head  while 
with  the  right  he  is  preparing  to  administer  the  medicine.  The  angel  points  to 
the  eyes  of  Tobias,  and  with  head  turned  slightly  to  the  left  is  looking  at  the 
old  wife,  who  holds  her  husband's  hand.  On  the  extreme  right  in  the  back- 
ground are  two  children. 

Canvas,  6$*4  '"•  l°n&  by  58^  in.  high. 


[  No.  27  ] 

CLAUDE    GELLEE    (CLAUDE    LORRAIN) 
f  rentf)  ^>cl)ool 

Born  in  Champagne,  on  the  Moselle,  in  1600;  died  in  Rome,  November  23,  1682. 
Pupil  of  his  elder  brother,  a  wood  engraver  at  Freiburg  in  Breisgau.  From  1619  to 
April  8,  1625,  lived  at  Rome  working  as  an  apprentice  and  valet  to  Agostino  Tassi. 
At  Nancy  he  found  employment  in  decorating  Chapelle  des  Carmes  for  Duke  Charles 
III.  Then  in  1627  he  returned  to  Rome  to  remain  for  the  rest  of  his  life.  By  1634 
Claude  had  become  a  celebrity  of  Rome.  In  the  height  of  his  fame  he  was  patronized  at 
Rome  by  the  King  of  Spain,  the  Elector  of  Bavaria,  Prince  Doria,  the  dukes  de  Bethune 
and  de  Crequy,  and  many  other  distinguished  persons.  From  the  church  of  the  Trinita 
di  Monte,  where  he  was  buried  and  where  his  monument  was  destroyed  by  the  French 
in  1798,  his  remains  were  removed  in  1840  to  the  church  of  S.  Luigi  in  Francesi,  at  the 
suggestion  of  M.  Thiers. 


[  No.  27  ] 


"A    SEAPORT" 

CLAUDE    GELLEE    (CLAUDE    LORRAIN) 

An  old  port  is  seen  with  a  vessel  about  to  sail.  She  is  on  the  extreme  right, 
and  four  women  are  on  the  shore,  evidently  sad  at  the  departure  of  the  sailors. 
A  man  is  sitting  on  a  stone,  pointing  to  the  vessel.  Three  sheep  and  two  goats 
are  seen  lying  down  or  feeding  in  the  foreground.  A  small  boat  is  sailing  off 
in  the  distance.  A  little  to  the  left  of  the  centre,  on  a  quay,  stands  a  massive 
building  with  four  square  towers.  Four  men  are  hauling  on  a  hawser  at  the 
left,  whilst  two  more  are  to  be  seen  in  a  small  boat.  At  the  extreme  right  of 
the  picture  is  a  large  tree ;  two  classical  columns  with  architrave  somewhat 
fallen  into  decay  are  near  by.    Hills  are  in  the  background. 

Canvas,  69  in.  long  by  49^  in.  high. 


[  No.  28  ] 

DOMENICO   GHIRLANDAJO 

floventmt  £df)ori 

Born  in  Florence,  1449;  died  there,  January  11,  1494.  Real  name  was  Domenico  di 
Tommaso  Curradi  di  Dosso  Bigordi.  He  took  his  surname  from  his  father,  a  gold- 
smith, who  was  called  Ghirlandajo  (garland-maker),  from  the  wreaths  of  gold  and  silver 
worn  as  head-dress  ornaments  which  he  made.  Called  to  Rome  by  Sixtus  IV.  in  1482,  he 
painted  the  "  Calling  of  Peter  and  Andrew  "  upon  the  walls  of  the  Sistine  Chapel. 


[  No.  28  ] 


"PORTRAIT   OF  A  YOUNG  GIRL" 


DOMENICO  GHIRLANDAJO 

A  young  woman  is  represented  a  little  less  than  half  length  and  two-thirds  life 
size.  She  leans  forward  from  behind  a  stone  balustrade.  The  eyes  are  chest- 
nut, the  hair  is  light,  parted  on  the  forehead,  with  a  head-dress  thrown  over 
it.  A  transparent  veil  covers  the  bare  shoulders.  She  wears  a  low  bodice  of  a 
bright  red  color  tied  with  strings,  through  which  a  dark-blue  chemise  is  visi- 
ble. Over  her  shoulder  is  a  mantle  of  a  light  yellow  color.  The  background 
is  light  blue  in  tone.  The  portrait  is  supposed  to  be  that  of  the  painter's  sec- 
ond wife,  to  whom  he  was  married  in  1488. 

Panel,  izj^  in.  long  by  i(>}£  in.  high. 


[  No.  29  ] 

JAN  VAN    GOYEN 
2Dutcf>  £ci)ool 

Born  at  Leyden,  January  13,  1596;  died  at  The  Hague,  1656.  Became  pupil  of 
Esaias  Van  de  Velde,  in  Haarlem,  about  1616.  He  made  a  tour  through  France  in 
161 8.  Settled  in  Leyden,  and  married  in  1631.  Removed  to  The  Hague,  where,  in 
1640,  he  was  president  of  the  Guild. 

The  date,  1657,  on  the  picture  which  he  left  unfinished  at  the  time  of  his  death  was 
added  by  his  son-in-law,  Jan  Steen,  who  painted  in  the  figures. 


[  No.  29  ] 


"ON    THE    RIVER" 


JAN   VAN    GOYEN 

A  quiet  stream  running  through  a  landscape  and  crossed  by  a  rustic  bridge 
is  here  shown.  To  the  right  is  an  old  cottage  with  a  colossal  tree  standing  be- 
side it.  A  man  is  fishing  near  by,  and  a  woman  stands  watching  him.  A  short 
distance  away  two  men  in  a  boat  are  making  preparation  to  cast  their  net,  and 
still  others  are  rowing  in  the  distance.  Cut  off"  at  the  corners  so  as  to  fit  a 
round  frame. 
Signed  on  the  bridge  abutment:   "V.  G.,  1653." 

Panel,  circle,  1 5  y2  in.  diameter. 


[  No.  30  ] 

JAN  VAN  GOYEN 
2Dutcf)  £d[)ooI 


[  N°-  3°  ] 


"VILLAGE    ON    THE    RIVER" 


JAN    VAN    GOYEN 

The  river  fills  the  entire  foreground  of  the  picture.  To  the  left  in  the  fore- 
ground are  two  boats,  one  of  which,  evidently  a  ferry-boat,  is  laden  with  people 
and  a  pair  of  horses  with  a  wagon.  Two  rowboats  are  in  the  stream.  Four 
cows  are  on  the  bank  to  the  left,  and  a  milkmaid  sits  beside  one  of  them.  On 
the  other  bank  of  the  stream  is  the  village,  with  a  church,  the  spire  of  which 
rises  above  the  trees  and  the  houses.  To  the  left  in  the  background  are  boats 
proceeding  down  the  river. 
Signed  on  the  bank  of  river  to  the  right  of  centre :   "J.  V.  G." 

Panel,  z  8  in.  long  by  1 8  in.  high. 


[No.3i] 

JAN   VAN    GOYEN 
Dutcli  School 


[No.  31  ] 


"LANDSCAPE   BY   THE   RIVER" 

JAN  VAN  GOYEN 

A  small  bridge  spans  a  part  of  the  stream  which  runs  under  it  towards  a  house 
on  the  right.  Trees  overhang  the  bridge,  and  a  barn  or  storehouse  stands  at 
the  end  of  it.  A  small  boat  with  two  men  in  it  is  lying  against  the  bank.  In 
the  distance  to  the  left  is  another  house  partly  hidden  by  the  trees,  and  there 
are  two  boats  in  the  river  with  some  men  standing  on  the  bank  beside  them. 
Signed  on  the  right-hand  side  of  the  bridge:   "V.  G.,  1638." 

Panel,  1 7  in.  long  by  I  2  in.  high. 


[No.  32] 

JEAN    BAPTISTE    GREUZE 
f  rcnct)  £cf)ool 

Born  at  Tournus,  near  Macon,  in  Burgundy,  August  21,  1725;  died  in  Paris,  March 
21,  1805.  Pupil  of  his  maternal  grandfather,  Grandon  of  Lyons.  Also  studied  in  the 
Academy  at  Paris.     He  amassed  a  large  fortune  only  to  lose  it. 


[No.  32] 


"REVERIE" 


JEAN    BAPTISTE    GREUZE 

A  young  girl  is  shown  sitting  at  a  small  table,  supporting  her  head  with  her 
left  hand.  A  quill  pen  and  letter  are  lying  beside  her.  A  blue  ribbon  is  around 
her  head,  and  her  hair  falls  to  the  front  over  her  shoulders  and  right  arm.  She 
wears  a  light  white  garment,  which  falls  unrestrained  across  her  bosom. 
From  the  collection  of  the  Duchess  of  Penthievre ;  from  the  family  of  the 
Due  de  Montebello ;   and  later  from  the  collection  of  Count  Daupias. 

Canvas,  20  in.  long  by  24  in.  high. 


[  M-  33  ] 
FRANCESCO    GUARDI 

Bertctian  School 

Born  in  Venice  1712  ;  died  1793.  Architect  and  landscape  painter;  pupil  of  Canaletto, 
whom  he  succeeded  in  surpassing.  While  hardly  as  precise  in  perspective  detail,  his  work 
shows  much  more  readily  the  hand  of  a  master  than  Canaletto 's. 


[No-  33] 


"GRAND  CANAL  AT  VENICE" 


FRANCESCO  GUARDI 

The  scene  is  the  Grand  Canal  at  Venice.  Many  gondolas  and  boats  with  mer- 
chandise cover  the  portion  of  the  canal  which  fills  the  foreground.  The  houses, 
so  varied  in  architecture,  that  line  the  Grand  Canal  are  to  be  seen  at  right 
and  left.  In  the  distance,  a  little  to  the  right  of  the  centre,  may  be  seen  the 
spire  of  a  church,  while  in  the  central  background  is  the  Rialto,  crossing  the 
canal. 

Panel,  34^  in.  long  by  251^  in.  high. 


[  No.  34  ] 

FRANCESCO    GUARDI 

Venetian  ^c^ool 


[  A&.  34  ] 


"WEDDING    OF    THE    DOGE" 

FRANCESCO    GUARDI 

In  this  picture  the  Nova  Fondamenta  is  shown  with  a  large  number  of  regal 
looking  barges  and  represents  a  fete  day.  Two  large  buildings  (one  a  church) 
are  seen  near  a  bridge  which  crosses  a  small  canal.  A  number  of  houses  to 
the  left  in  the  far  distance.  The  stern  of  a  large  barge  is  seen  in  the  fore- 
ground to  the  left.  Another  large  barge  is  moored  in  front  of  one  of  the 
covered  passageways  leading  from  the  water  side  to  the  church  door. 

Panel,  I  8  in.  long  by  I  5  in.  high. 


[  No.  35  J 

FRANS    HALS 
BDutcf)  £cf)ool 

Born  in  Antwerp,  1584;  died  in  Haarlem,  August  26,  1666.  Dutch  school;  pupil  of 
Karel  van  Mander.  A  founder  of  the  national  style  and  a  portrait  painter  to  be  ranked 
with  the  greatest  masters.  He  excited  the  admiration  of  Van  Dyck  and  other  painters. 
In  1664  he  was  reduced  to  sheer  want,  and  was  supported  by  the  municipality  and 
pensioned. 


[  No.  35  ] 


"PORTRAIT   OF    A   WOMAN" 


FRANS    HALS 

An  old  lady  in  a  black  silk  dress  with  embroidered  waist  is  shown  sitting  in  a 
high-backed  chair.  She  wears  a  stiff  white  ruff  (which  was  common  to  the 
period  in  which  the  artist  lived  and  flourished),  and  also  the  conventional  cap. 
In  her  left  hand  she  holds  a  book.  The  hand  shows  signs  of  rheumatism, 
which  was  very  prevalent  among  the  Hollanders  in  ancient  times.  The  back 
of  the  chair  is  ornamented  at  each  corner  with  lions'  heads.  Just  above  the 
corner  of  the  chair,  to  the  left,  is  the  inscription  :  — 

MTAT  SVAE   56 
AN°    1535 

Canvas,  351^  in.  long  by  45  in.  high. 


[No.36] 

FRANS    HALS 
SDuttf)  £cf)ool 


[  No.  36  ] 


«  THE   SINGERS  " 


FRANS    HALS 

The  head  and  shoulders  of  a  boy  and  half  length  of  a  girl  are  shown  in  the 
picture.  The  children  are  singing,  the  boy  looking  up  and  smiling  and  the  girl 
looking  down  at  the  music  which  the  boy  holds  in  his  two  hands  and  which 
she  supports  with  her  left  hand.  Her  right  hand  is  placed  gently  upon  his 
shoulder.  A  brown  jug  hangs  on  the  wall  at  the  upper  left-hand  corner. 
Signed  to  the  left  of  the  centre  on  wall :   "  F.  H." 

From  the  sale  of  Coupry-Dupri,  Paris,  181 1.      From  the  collection  of  S.  A.  S. 
Monseigneur  le  Due  d'Arenberg. 

Canvas,  25  in.  long  by  28  in.  high- 


[No.  37] 

FRANS    HALS 
SDutcl)  School 


[No.  37] 


"THE    VIOLIN    PLAYER" 


FRANS    HALS 

A  little  boy,  wearing  a  fur  cap,  is  playing  a  violin.  He  has  a  black  jacket, 
under  which  is  a  red  waistcoat  and  a  white  frilled  shirt.  His  face  is  turned 
upward,  and  his  eyes,  cast  to  the  left,  look  in  the  same  direction.  He  is 
singing,  and  his  face  betokens  with  great  power  the  feeling  which  is  thrown 
into  his  actions. 
Signed  on  the  left  in  monogram  :  "  F.  H." 

Panel,  diamond-shape,  7'<  in.  each  side. 


[No.3S] 

FRANS    HALS 

Dutrt)  School 


[No.  38] 


"THE    SINGING    GIRL" 


FRANS    HALS 

A  young  girl  with  high  forehead  and  black  hair,  ornamented  with  a  narrow 
ribbon,  is  holding  a  book  in  her  left  hand,  while  her  right  is  upraised  as 
though  keeping  time.  She  is  singing,  and  intently  watching  the  pages  of  her 
book.  A  yellow  dress  is  seen  at  the  shoulders,  also  a  part  of  a  green  bodice 
which  she  wears  over  a  white  frilled  chemisette. 
Signed  to  the  right  in  monogram  :   "  F.  H." 

Panel,  diamond-shape,  T1/,  in.  each  side. 


[No.  39] 

GEORGE    HENRY    HARLOW 
<£ugligi)  £ri)ool 

Born  in  London  June  10,  1787;  died  there  February  4,  1819.  Portrait  painter  and 
pupil  of  De  Cort  Drummond  and  Sir  Thomas  Lawrence.  First  exhibited  at  the  Royal 
Academy  in  1805.  In  18 18  he  visited  Rome,  was  introduced  to  the  Pope  by  Canova, 
and  through  him  made  a  member  of  the  Academy  of  St.  Luke. 


[  No.  39  ] 


"PORTRAIT    OF    A    BOY" 

GEORGE    HENRY    HARLOW 

The  boy  sits  on  a  chair  with  his  hands  folded  in  his  lap,  his  left  hand  grasping 
his  right  thumb.  He  is  a  rosy-cheeked  little  fellow  with  black  eyes  full  of 
mischief,  and  looks  as  though  he  had  but  little  interest  in  posing  for  his  por- 
trait. He  wears  a  little  ruffle  around  his  neck,  and  his  clothes  are  of  a  dark 
brown  color. 

Canvas,  25  in.  long  by  30  in.  high. 


[  No.  40  ] 

JAN    VAN    DER    HEYDEN 
SDutcfj  £ri)ool 

Born  at  Gorinchem,  in  1637;  died  in  Amsterdam,  September  28,  1712.  His  forte 
was  architecture  and  landscape  painting.  Views  of  buildings  show  a  feeling  for  the  pic- 
turesque, warm  and  transparent  tone,  accurate  perspective,  and  fine  touch.  Ranks  first 
among  those  who  represented  exteriors  of  buildings.  His  figures  were  generally  painted 
by  Adriaen  van  de  Velde,  Eglon  van  der  Neer,  and  Lingelbach. 


[  No.  40  ] 


"MARKET    DAY    IN    ROTTERDAM" 

JAN    VAN    DER    HEYDEN 

The  scene  is  located  in  a  broad  street.  The  rear  of  a  church,  surrounded  by  a 
wall,  is  shown  to  the  left.  Against  the  wall  are  several  figures  —  there  are  a 
great  number  in  the  picture  —  all  painted  by  Adriaen  van  de  Velde.  Conspicu- 
ous among  the  figures  is  a  blind  man  receiving  alms  from  a  woman  and  a  lit- 
tle child.  Further  on  is  a  large  pump,  from  which  a  woman  has  just  been 
drawing  water.  At  the  end  of  the  wall,  on  a  small  platform,  a  man  is  talking 
to  a  crowd  of  people,  while  a  boy  beside  him  attracts  attention  by  beating  a 
drum.  On  the  left  side  of  the  street  are  women  with  vegetables  and  wares 
of  various  kinds,  which  they  offer  for  sale.  In  the  distance  are  throngs  of 
people. 

Collection  Count  Soltikof. 
Signed  in  lower  left-hand  corner:   "V.  Heyden." 

Canvas,  20 i/±  in.  long  by  17  in.  high. 


[No.  41  ] 
JAN  VAN    DER    HEYDEN 


[No.  41  ] 


"  THE    VILLAGE  " 


JAN   VAN    DER    HEYDEN 

A  group  of  thatched  cottages  is  here  presented.  In  the  doorway  of  one  of 
them  an  old  woman  stands  gazing  on  the  quiet  scene  before  her.  To  the  left, 
near  an  open  gateway,  a  peasant  girl  is  conversing.  In  the  foreground  a  stream 
of  water  is  shown  in  which  ducks  are  swimming,  while  on  the  banks  chickens 
are  wandering  contentedly  about.  Perched  on  the  top  of  a  pole  is  a  dove 
house.  To  the  right  is  an  old  shed.  In  front  of  it  stands  the  stump  of  a  tree, 
and  a  wooden  bench  rests  at  the  edge  of  the  water.  The  sky  is  overcast  with 
grayish  white  clouds,  and  joins  the  background.  In  the  distance  the  spire  of  a 
church  is  shown. 
Signed  at  the  right,  on  one  of  the  boards  of  the  old  house :  "  V.  Heyden." 

Canvas,  22  ^£  in.  long  by  18  *4  **.  high. 


[  No.  42  ] 

JAN  VAN  DER  HEYDEN 
SDutcf)  £cf>ool 


[  No.  42  ] 


"THE    OLD    HOUSE" 


JAN   VAN    DER    HEYDEN 

A  portion  of  an  old  brick  house  with  a  tiled  roof  is  represented  on  the  right 
of  the  picture.  A  woman  stands  in  the  doorway,  and  there  are  several  figures 
both  in  the  foreground  and  in  the  distance.  Two  large  trees  are  in  the  centre, 
and  to  the  left  is  open  country.    Signed  (name  indistinct),  1668. 

Panel,  I  3  in.  long  by  9  in.  high. 


[2ft.  43] 
MEINDERT   HOBBEMA 

Dutcfi  School 

Born  at  Amsterdam,  1638  ;  died  at  same  place,  1709.  Pupil  of  Jacob  van  Ruisdael.  Fig- 
ures and  animals  in  his  pictures  were  painted  by  Berghem,  Van  de  Velde,  Lingelbach, 
and  Wouwerman.  Most  of  his  pictures  were  bought  by  Englishmen.  He  was  much 
neglected  in  his  lifetime  and  little  esteemed.  He  now  takes  rank  as  one  of  the  greatest 
masters  of  landscape  art,  thanks  to  the  initiative  of  England. 


[  No.  43  J 


"A    VIEW    IN    WESTPHALIA" 


MEINDERT    HOBBEMA 

This  picture  is  described  in  Smith's  Catalogue  Raisonne,  Part  VI.  No.  18,  as 
"  A  view  in  Westphalia,  representing  a  richly  wooded  country,  distinguished 
in  its  composition.  On  the  right  are  the  ruins  of  a  house,  beyond  which  is  a 
large  clump  of  trees,  surrounded  in  part  by  a  stream  of  water,  which  is  crossed 
by  a  rustic  bridge.  A  little  way  off  stands  a  cottage  among  trees,  and  still 
further  to  the  right  is  seen  a  spire  in  the  adjacent  hamlet.  The  opposite  side  is 
rendered  picturesque  by  a  little  lake  fringed  with  weeds  and  foliage.  The 
figures  which  animate  the  scene  consist  of  a  man  angling,  another  crossing  the 
bridge,  and  a  man  and  woman  in  conversation. 

"  Now  in  the  collection  of  William  Wells,  Esq.,  Redreaf." 

Panel,  34  in.  long  by  24  in.  high. 


■i^^HMflM 


[  No.  44  ] 

MEINDERT    HOBBEMA 
SDutd)  =£>cf)ool 


[  No.  44  ] 


"THE    MILL" 


MEINDERT    HOBBEMA 

An  old  mill  stands  in  the  centre  of  the  picture,  the  sun  shining  on  it  brightly. 
One  large  tree  is  at  the  right  and  three  other  trees  at  the  left.  The  mill  is 
reflected  in  a  stream  of  water  which  flows  in  front  of  it.  A  woman  and  a  little 
child  and  a  man  are  in  the  foreground.  It  is  said  that  the  sky  in  this  picture 
is  not  quite  finished,  and  that  it  was  the  last  work  of  the  master.  The  rest 
of  the  picture  is  painted  with  the  utmost  care  and  is  evidently  one  of  his  best 
works.  "  This  picture  belonged  to  an  old  family,  and  hung  in  the  same  place 
since  it  was  relined  in  1830  or  earlier.  Its  frame  was  falling  to  pieces  and  the 
painting  was  becoming  so  black  with  age  and  dirt  that  the  subject  could 
scarcely  be  deciphered.  Durand-Ruel  purchased  the  picture  and  had  it  cleaned, 
when  its  great  beauty  was  discovered." 
Signed  in  the  lower  right-hand  corner:   "  M.  Hobbema." 

Canvas,  47  x/2  in.  long  by  36  in.  high. 


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[No.  45] 

MEINDERT    HOBBEMA 
2Dutcf)  £cf)ool 


[  No.  45  ] 


« THE    FORD " 

MEINDERT    HOBBEMA 

This  picture  represents  an  old  mill  on  the  left,  located  on  a  stream  of  water. 
In  the  back  centre  is  a  house,  and  in  the  front  two  large  trees  and  several  small 
ones,  with  a  group  of  smaller  trees  on  the  right.  A  man  in  a  red  jacket  with  a 
package  on  his  back  is  sitting  on  a  log.  In  the  foreground  is  a  shepherd  talk- 
ing to  a  woman.  They  are  driving  some  sheep  and  a  cow  to  the  stream.  A 
dog  is  swimming  across  the  water.  In  the  left  background  is  a  man  with  a 
flock  of  sheep,  also  a  group  of  trees. 
Formerly  in  the  possession  of  Mrs.  Whatman. 
The  two  large  figures  in  front  are  by  A.  Van  de  Velde. 

Canvas,  52  in.  long  by  39  in.  high. 


[  No.  46  ] 

MEINDERT    HOBBEMA 
2Dutd)  <£>d[)ool 


[  No.  46  ] 


"THE    OLD    MILL" 


MEINDERT    HOBBEMA 

An  old  mill  is  in  the  foreground  to  the  left  beside  a  running  stream,  and  a 
woman  is  seen  in  front  of  it.  On  the  right  are  two  men  extending  their  hands 
to  each  other.  One  is  dressed  in  red  and  the  other  in  dark  colors.  They  are 
surrounded  by  a  group  of  large  trees.  In  the  background  is  a  house,  and  a  wo- 
man looks  out  from  the  doorway.  The  lower  part  of  the  Dutch  door  is  closed. 
There  is  also  a  man  walking  beside  the  stream  which  divides  the  foreground 
from  the  house.  The  light  color  so  familiar  in  Hobbema's  works  illumines 
the  background. 
Signed  in  the  lower  right-hand  corner  :   "  Hobbema." 

Panel,  29  in.  long  by  zi^  in.  high. 


L  No.  47  ] 
ATTRIBUTED    TO    MEINDERT    HOBBEMA 

Dutrti  ^riiooi 


[  No.  47  ] 


«  THREATENED    STORM    IN    SUMMER " 


ATTRIBUTED    TO    MEINDERT    HOBBEMA 

A  summer  afternoon,  with  gathering  clouds,  is  here  represented.  In  the  fore- 
ground a  man  and  woman  are  shown.  The  former  is  driving  a  cow  along  the 
road ;  the  latter  is  accompanied  by  a  dog.  Beyond  is  a  woman,  and  cattle ;  to 
the  right  a  man,  woman,  and  child  are  hastening  along  the  road;  and  to  the 
left  is  a  cottage,  in  the  door  of  which  stands  a  woman.  A  pond  is  in  front  of 
the  house.  The  animals  and  figures  are  by  Nicholas  Berghem.  The  picture 
was  once  in  the  possession  of  the  Empress  Catherine,  who  presented  it  to 
Prince  Vorong. 
Signed  in  lower  right-hand  corner :  "  M.  Hobbema." 

Panel,  43  in.  long  by  30  in.  high. 


[  No.  48  ] 

ATTRIBUTED    TO    MEINDERT   HOBBEMA 

EDutcf)  <§>cf)00l 


[  No.  48  ] 


"THE    ROAD    TO    THE    COTTAGE" 

ATTRIBUTED   TO    MEINDERT    HOBBEMA 

A  rough  road  winds  its  way  to  the  cottage,  which  is  discernible  on  the  left, 
though  partly  hidden  by  foliage.     A  large  clump  of  trees  is  also  shown  beside 
the  road.    Two  men  are  standing  under  them,  and  another  man  is  seen  beyond. 
To  the  right  are  two  men  some  distance  apart. 
Signed  on  log  in  lower  right-hand  corner :   "  Hobbema." 

Panel,  33  in.  long  by  24  in.  high. 


[  No.  49  ] 

PIETER    DE    HOOCH 

Dutrh  School 

Born  in  Rotterdam;  baptized  December  12,  1632;  died  in  Haarlem,  1681.  Worked 
at  Delft,  where  he  entered  the  Guild  in  1655.  One  of  the  most  original  artists  of  the 
Dutch  School,  and  painted  domestic  scenes  in  such  a  manner  that  a  bright  light  was 
thrown  from  one  side. 


[  No.  49  ] 


"THE    SOCIAL    GLASS" 


PIETER    DE    HOOCH 

A  table  is  shown  in  the  centre  of  a  modestly  furnished  room,  and  at  it  a  man 
is  sitting  holding  a  glass  from  which  he  has  been  drinking.  He  wears  a 
broad-brimmed  hat,  and  has  flowing  locks  which  fall  upon  his  shoulders.  A 
woman  stands  opposite,  her  left  hand  grasping  the  handle  of  a  beer  pitcher, 
while  her  right  is  extended  toward  an  empty  glass  in  the  man's  hand.  The 
man,  with  his  left  hand  outstretched,  seems  to  be  asking  permission  to  help 
himself.  On  the  table  lies  a  handsome  Turkish  rug,  the  folds  of  which  fall 
over  the  side.  On  the  right  of  the  room  is  a  red-covered  chair,  and  on  the 
left  a  window  draped  with  a  pink  curtain.  The  open  courtyard  can  be  seen 
in  the  rear  of  the  house,  and  further  on  is  a  building  through  which  is  a 
passage  into  the  open  landscape  beyond. 

Panel,  18%  in.  long  by  zoy^  in.  high. 


[No.  So] 

PIETER    DE    HOOCH 
2Dutdj  ^tfjool 


[  No.  50  ] 


"THE    MUSIC    PARTY" 


PIETER    DE    HOOCH 


In  the  foreground,  a  woman  is  shown  attired  in  a  blue  satin  dress,  which  is 
handsomely  trimmed  with  gold  lace.  She  stands  beside  a  violoncello,  the  neck 
of  which  she  grasps  with  her  left  hand,  while  in  her  right  she  holds  a  bow, 
and  seems  ready  to  commence  playing.  Another  woman,  holding  a  music 
book  in  her  left  hand,  sits  by  an  open  casement,  with  her  right  elbow  sup- 
ported by  the  window  sill.  The  position  of  her  hand  would  indicate  that 
she  had  been  resting  it  against  her  head.  A  man  stands  behind  her  and  is 
intently  looking  at  her  music.  To  the  right  of  the  musician  another  man  is 
tuning  a  lute.  A  dog  stands  in  front  of  him.  To  the  extreme  right,  through 
an  open  doorway,  a  courtyard  can  be  seen,  in  which  there  are  three  persons, 
and  which  is  surrounded  by  buildings.  A  bright  light  gleams  through  the 
window  from  the  left,  and  is  reflected  with  beautiful  effect  on  the  two  women. 
From  the  Schall  collection  at  Baden. 

Canvas,  41^  in.  long  by  35^2  '"■  high. 


[No.Si] 
PIETER    DE    HOOCH 


[No.  5i] 


"AN    INTERIOR" 

PIETER    DE    HOOCH 

The  light  coming  through  a  window  on  the  left  falls  on  a  woman  sitting  in 
a  chair  holding  a  pair  of  tongs  in  her  right  hand,  with  which  she  is  reaching 
towards  the  fire.  In  her  lap  she  holds  a  basket  of  pears,  which  she  is  peeling 
and  placing  in  a  dish  at  her  side.  A  little  child  stands  beside  her  reaching  into 
the  basket  for  one  of  the  pears.  It  is  holding  one  in  its  right  hand.  To  the 
left  a  woman  with  a  red  dress  is  at  a  cupboard.  There  is  a  fire  on  the  hearth 
on  the  right-hand  side  of  the  picture.  A  plate  of  bread  and  a  blue  jug  are  on 
the  table  to  the  left. 
Signed  at  the  bottom  of  window  :   "P.  D.  Hooch." 

Canvas,  25  in.  long  by  28  in.  high. 


[  No.  52  ] 

HANS  HOLBEIN   (the  Elder) 
4Berman  dbrfjool 


Born  in  Augsburg  about  1460;  died  there,  1524.     History  painter.    In  his  later  works 
he  came  under  the  influence  of  the  Italian  Renaissance. 


[No.  52] 


"THE    FOOL" 

HANS    HOLBEIN    (the  Elder) 

The  bust  of  a  man  is  shown  wearing  a  cap  with  long  ears  and  two  little  horns 
coming  from  the  top  of  the  cap.      He  wears  a  leather  jacket  laced  on  the 
shoulders,  and  in  his  hands  is  a  mug,  from  which  he  has  been  drinking.     He 
also  holds  a  knife  and  a  prong. 
From  the  collection  of  Julius  Boekler,  Munich. 

Panel,  13^  in.  long  by  17%  '"■  high. 


[No.  S3] 

HANS    HOLBEIN   (the  Younger) 

German  School 

Born  at  Augsburg,  1497.  Died  in  London  between  October  7  and  November  29, 
1543.  History  and  portrait  painter.  Son  and  pupil  of  Hans  Holbein  the  elder.  He 
served  as  journeyman  under  Herbster,  Koch,  or  Dig.  He  matriculated  in  1 5 1 9,  when 
he  joined  the  Painters' Guild.  His  frescoes  in  the  City  Hall  at  Basle  were  painted  in 
1 52 1  and  1522.  After  visiting  Antwerp  to  see  Quinten  M assy s,  he  went  to  England, 
where  Sir  Thomas  More  lodged  him  in  his  own  house  near  London.  After  living  in 
Basle  until  1532  he  returned  to  England,  where  he  remained,  except  with  occasional  visits 
to  Basle,  during  the  rest  of  his  life.  He  became  Painter  to  Henry  VIII.  and  received  a 
quarterly  salary  from  the  King. 


[No.  S3] 


"PORTRAIT    OF    A    LADY" 

HANS    HOLBEIN    (the  Younger) 

A  half-length  portrait  of  a  lady  dressed  in  the  style  of  the  fifteenth  century 

is  shown.      She  wears  a  white  head-dress,  a  thin  piece  of  veiling  covering  her 

chin  and  neck.      Her  dress  is  of  black  material  trimmed  with  a  fur  collar. 

She  carries  her  gloves  in  her  right  hand.     On  the  forefinger  of  the  same  hand 

she  wears  a  ring  with  a  dark  stone. 

From  the  Quasnika  Collection  at  Lyon. 

Signed  in  the  upper  right-hand  corner:   "  H.  H.     1575." 

Panel,  1 2  in.  long  by  1 6  in.  high. 


[M.  54] 

HANS    HOLBEIN    (the  Younger) 

German  £cf)ool 


[No.  54J 


"PORTRAIT   OF  A  CHIEF   MAGISTRATE  OF 

AMSTERDAM  " 

HANS    HOLBEIN  (the  Younger) 

(  Early  part  of  sixteenth  century. ) 

The  magistrate  is  dressed  in  a  black  gown,  which  designates  his  official  posi- 
tion.   The  large  lapels  are  thrown  back,  disclosing  an   inner  coat,  which  is 
buttoned  at  the  throat.    A  white  lace  collar  is  about  his  neck,  and  he  wears  a 
broad-brimmed  hat,  with  low  crown. 
From  the  collection  of  Horace  Walpole,  Strawberry  Hill. 

Canvas,  6%  in.  long  by  7  in.  high. 


[  No.  SS  ] 

THOMAS  DE  KEYSER 

2DutcJj  £rf)ool 

Born  in  Amsterdam  in  1596  or  1597  ;  died  there  and  buried  November  19,  1679.  His- 
tory, genre,  and  portrait  painter.  His  small  pictures  are  very  characteristic.  His  portraits, 
which  are  truthful  and  of  warm,  clear  coloring,  appear  to  have  influenced  Rembrandt 
when  the  latter  came  to  Amsterdam  in  1631. 


[  No.  55  ] 


"PORTRAIT    OF    A    GENTLEMAN" 


THOMAS    DE    KEYSER 

He  is  dressed  in  black  velvet  short  clothes  and  a  large  black  hat.  He  wears  a 
ruff  around  his  neck  and  broad  lace  cuffs  on  his  arms.  Over  his  left  arm  and 
shoulder  is  thrown  a  cloak.  On  his  left  hand  he  wears  a  leather  glove,  and 
holds  his  other  glove  in  the  same  hand.  In  his  right  hand  he  holds  a  walking 
stick.  He  has  a  light  mustache.  He  is  standing  at  the  top  of  a  flight  of  stone 
steps,  on  a  platform  which  evidently  is  the  entrance  to  the  building  back  of 
him ;  a  corner,  showing  ornamental  architecture,  is  seen  in  the  picture.  In  the 
background  is  a  large  stone  building. 

Sold  in  the  collection  of  J.  D.  Bosch,  Amsterdam,  1812,  and  J.  H.  Cremer, 
in  Brussels,  in  1868. 

Panel,  1 1  %  in.  long  by  \i>%  in.  high. 


[  No.  56  ] 

SIR    EDWIN    HENRY    LANDSEER 
(English  <§>c&ool 

Born  in  London,  March  7,  1802  ;  died  there  October  1,  1873.  He  was  the  third  son 
and  pupil  of  John  Landseer,  engraver.  Began  to  draw  animals  when  very  young,  some 
of  his  sketches  made  when  five,  seven,  and  ten  years  old  being  preserved  at  South  Ken- 
sington. When  fourteen  he  became  a  student  of  the  Royal  Academy,  and  exhibited  the 
next  year  "  Heads  of  a  Pointer  Bitch  and  Puppy."  He  soon  won  an  unrivaled  repu- 
tation as  an  animal  painter,  and  became  A.  R.  A.  in  1826,  and  R.  A.  in  1830.  In  1850 
he  was  knighted,  and  in  1855  received  at  the  French  exhibition  the  large  gold  medal,  and 
in  1873  tne  medal  at  the  Vienna  exhibition. 


[  No.  56  ] 


"THE    PETS" 


SIR    EDWIN    HENRY   LANDSEER 

A  portrait  of  Lady  Rachel  Russell,  with  her  favorite  fawn,  "  Harty,"  is  here 
given.  On  rising  ground,  which  is  very  light  and  clear,  the  little  girl  stands 
holding  a  plate  of  food  with  which  she  intends  to  feed  her  fawn.  Great 
anxiety  is  depicted  on  the  child's  face  lest  some  of  the  food  should  be  spilled. 
The  manner  in  which  she  bends  her  knees  to  bring  the  plate  even  with  the 
fawn's  nose  gives  her  a  most  charming  pose.  Her  shoulders,  face,  and  blonde 
hair  are  bathed  in  full  light,  and  wild  flowers  fall  from  her  reddish  dress,  which 
is  raised  about  her  waist.  Beneath  a  yellow  petticoat  her  red  stockings  can  be 
seen.  A  cat  is  under  the  table  playing  with  the  end  of  a  piece  of  blue  ribbon 
tied  around  the  fawn's  neck.  Two  large  trees  stand  out  against  a  beautiful 
background  of  foliage  of  a  warm,  harmonious  green. 

Engraved  by  W.  H.  Watt.  Painted  and  exhibited  at  the  Royal  Academy  in 
1834.      Formerly  in  the  possession  of  Rev.  Lord  Wriothesley  Russell. 

Canvas,  21  in.  long  by  26  in.  high. 


[  No.  57  ] 
BERNARDINO  LUINI 
Hom&art^jftilanege  £c|)ool 

Born  in  Luino,  1475-80  or  1460-70;  died  in  Milan  after  1533.  Called,  by  Vasari, 
del  Lupino  ;  pupil  of  Civerchio  and  of  Leonardo  da  Vinci.  His  most  important  works 
in  Milan  are  the  frescoes  in  the  Monastero  Maggiore. 


[  No.  S7  ] 


"THE   MYSTIC   MARRIAGE  OF   ST.  CATHERINE" 

BERNARDINO    LUINI 

The  Virgin  appears  near  the  middle  of  the  picture  holding  the  Child  Christ  in 
her  arms.  Over  her  head  and  shoulders  is  thrown  a  dark  green  cloak.  The 
Child  has  a  ring  in  its  right  hand  and  a  ball  in  its  left.  The  ring  is  being 
placed  upon  the  second  finger  of  the  right  hand  of  St.  Catherine,  which  is  held 
toward  the  Infant.  To  the  right  is  another  female  figure.  On  the  neck  of 
the  dress  of  the  figure  to  the  right  is  the  following  inscription  :  "  S.  Doratea 
Ora  — " 
From  the  collection  of  Comte  Casali  of  Mantua. 

Panel,  2  2j/£  in.  long  by  28*^  in.  high. 


[  No.  58  ] 
JAN   VAN  MABUSE 

Born  at  Mabeuge  about  1470;  died  in  Antwerp  about  1541.  Real  name  Jan  Gossart 
or  Gossaert.  History  painter.  Admitted  in  1 503  to  Guild  in  Antwerp,  where  he  prac- 
ticed until  1507,  when  he  went  to  Italy  and  was  the  first  artist  of  the  Netherlands  who 
visited  that  country.  He  was  in  Rome  from  1508  to  1 5 13  in  the  service  of  Philip, 
natural  son  of  Philip  the  Good.  Before  he  went  to  Italy  he  painted  chiefly  religious 
subjects. 


[  No.  58  ] 


"MADONNA    AND    CHILD" 

JAN    VAN    MABUSE 

This  is  a  bust  of  the  Madonna  with  the  Christchild  in  her  arms.  She  has 
reddish  blond  hair,  which  falls  over  her  shoulders.  Over  her  head  is  a  lace 
covering.  A  blue  cloak  thrown  open  at  the  neck  envelops  her  form,  and  the 
one  arm  shown  discloses  a  red  sleeve. 

Panel,  7^  in.  long  by  9^  in.  high. 


[  No.  59  ] 
HANS  MEMLING 

Born  at  Mayence  (?)  about  1425  ;  died  at  Bruges  on  August  1 1,  1495.  Pupil  of  Rogier 
Van  der  Weyden. 

According  to  a  popular  legend  Memling  was  admitted  as  a  sick  soldier  into  the  Hospital 
of  St.  John  at  Bruges  after  the  Battle  of  Nancy,  and  in  gratitude  for  the  care  bestowed 
upon  him  painted  a  celebrated  wooden  shrine  to  St.  Ursula  before  October  29,  1489, 
with  miniatures  representing  six  scenes  from  the  legend  of  the  saint. 


[  No.  59  ] 


"VIRGIN  AND    CHILD    ENTHRONED" 

HANS    MEMLING 

The  Virgin  rests  on  a  seat  at  the  right-hand  side  of  the  picture.     She  wears  a 
red  dress,  and  over  her  shoulders  is  a  blue  cloak.     Her  hair  is  of  a  reddish  color. 
St.  John,  wearing  a  red  cloak,  is  to  her  left,  with  the  book,  the  cross,  and  the 
lamb.      Landscape  with  a  city  in  the  distance. 
From  the  collection  of  Rajicevitch,  Beyamo,  near  Milan. 

Panel,  1 4 y±  in.  long  by  \lY^  in.  high. 


[  No.  60  ] 
GABRIEL   METSU 
SDutct)  £ri)ooI 

Born  in  Leyden  in  1630;  died  in  Amsterdam,  buried  October  24,  1667.  Genre  por- 
trait painter.  Son  of,  and  probably  first  instructed  by,  Jacob  Metsu.  He  was  married  in 
1658,  and  took  the  freedom  of  the  city  of  Leyden  in  1659.  He  painted  chiefly  scenes 
from  the  upper  classes  of  society. 


[  No.  60  ] 


"THE    LETTER" 


GABRIEL    METSU 

A  young  woman,  richly  dressed  in  silk  and  velvet,  and  jeweled  earrings,  is 
seated  at  a  table.  Her  jacket  is  edged  with  ermine,  and  the  covering  of  her 
head  —  which  is  so  arranged  as  to  show  a  part  of  her  front  hair  —  is  a  soft, 
white  drapery.  The  table  is  covered  with  a  red  embroidered  cloth,  and  an 
inkstand  and  sheet  of  paper  are  before  her.  She  slightly  inclines  toward  the 
table,  and  her  right  arm  and  left  hand  are  resting  upon  it.  In  her  right  hand 
she  holds  a  quill  pen,  and  seems  ready  to  continue  the  interrupted  letter.  Her 
eyes  have  an  amused  yet  interesting  expression,  contemplative  of  what  she  is 
writing.  To  the  right  is  a  spaniel  looking  up,  as  if  waiting  recognition. 
From  the  collection  of  the  Marquis  Da  Foss  of  Lisbon. 
Signed  in  the  upper  left-hand  corner :   "  G.  Metsu." 

Panel,  1 3  in.  long  by  1 5  yA  in.  high. 


[No.    6 1  ] 
GABRIEL    METSU 


[No.  61  ] 


"WOMAN    CLEANING    CARROTS" 

GABRIEL    METSU 

This  picture  represents  a  woman  sitting  at  a  table  where  she  is  cleaning  carrots. 
A  wooden  pail  stands  in  front  of  her  with  some  carrots  in  it.     Two  carrots  are 
lying  on  the  table  and  one  is  in  the  woman's  hand.     There  is  a  dish  in  front 
of  her  with  three  fishes. 
Signed  in  the  lower  right-hand  corner :  "  G.  Metsu." 

Panel,  9^  in.  long  by  II  in.  high. 


■■                 T-^ 

■HHHIm 

■ 

IMF 

Mb. 

Hi  flB 

11        fiH 

1 

^^r  ■■ 

- 

i  wl    i% -•'f'iSts 

[  No.  62  ] 

FRANS  VAN  MIERIS 
2Dutri)  £cf)ool 

Born  at  Delft,  1635  ;  died  at  Leyden,  1681.  He  was  one  of  twenty-three  children  of 
his  father,  who  was  a  lapidary.  In  early  youth  he  was  apprenticed  to  a  glass  painter, 
Abraham  Torenvliet,  whose  studio  he  abandoned  for  that  of  Gerard  Dou,  who  called 
him  the  prince  of  his  pupils. 


[  No.  62  ] 


"BOY     BLOWING     BUBBLES" 

FRANS   VAN    MIERIS 

A  boy  blowing  bubbles  is  looking  out  of  a  window,  and  a  woman  is  standing 
back  of  him.      On  the  window-sill  is  a  red  hat  with  a  feather,  also  a  vase  in 
which  is  a  sunflower.     Hanging  up  on  the  right-hand  side  is  a  bird  cage.     The 
painting  is  round  at  the  top. 
Signed  inscription  under  window:  "  M.DC.LXIII." 

Copper,  71^  in.  long  by  10  in.  high. 


[No.  63] 

FRANS   VAN    MIERIS 
SDutrij  £cf)ool 


L  No.  63  J 


"PORTRAIT    OF    A    LADY" 

FRANS  VAN  MIERIS 

Before  a  mirror  stands  a  lady  in  evening  costume  apparently  selecting  the 
jewels  she  shall  wear  from  the  casket  which  an  Ethiopian  serving-maid  holds 
in  her  hands.  The  lady's  right  hand  is  raised  to  her  shoulder,  and  she  studies 
the  effect  of  the  jewel  which  she  holds  in  it.  A  rich  wrap  of  crimson  cloth 
and  fur  hangs  over  the  chair  in  front  of  her,  and  a  rich  cloth  or  rug  covers 
the  table,  on  which  are  another  casket  and  a  letter.  The  face  of  the  servant 
is  raised  as  if  expecting  some  directions.  Through  an  arched  doorway  in 
the  background  a  man  is  seen  sitting  at  a  table  reading. 
Signed  in  upper  right-hand  corner  :  "  Mieris,  166." 

Panel,  9^  in.  long  iy  ufy  in.  high. 


[  No.  64  ] 

ABRAHAM    MIGNON 

Smtcl)  School 

Born  at  Frankfort,  in  June,  1640.  Died  at  Wetzlar,  in  1679.  Taken  to  Holland  in  his 
twentieth  year  by  Jacob  Marrel,  who  placed  him  with  J.  Davidsz  de  Heem,who  perfected 
him  in  the  painting  of  flowers  and  fruits. 


[  No.  64  ] 


"FRUIT" 


ABRAHAM    MIGNON 

To  the  right  of  this  subject  is  the  stump  of  a  small  tree  covered  with  moss. 
Around  the  bottom  of  it  two  snakes  are  entwined,  and  near  by  is  a  canteloupe, 
fastened  to  which  is  a  snail.  On  top  of  the  canteloupe  is  a  bunch  of  grapes, 
and  beside  it  are  two  lizards,  one  of  which  is  on  its  back;  also,  a  cucumber, 
an  ear  of  corn,  several  peaches,  and  a  quantity  of  citron  and  nuts.  To  the  left 
are  two  mice.  On  a  pedestal  are  grapes,  citron,  plums,  and  apricots ;  and  at 
the  top  of  the  picture  are  a  butterfly  and  three  birds. 
From  the  collection  of  Baron  Pret,  Antwerp. 

Canvas,  28 yz  in.  long  by  35^  in.  high. 


[  No.  65  ] 

AERT   VAN    DER   NEER 
2Dutclj  c§>cljool 

Born  at  Amsterdam,  1603  ;  died  there,  November  9,  1677.  Landscape  painter.  Was 
a  friend  of  Cuyp,  who  occasionally  supplied  the  figures  in  his  landscapes,  and  an 
admirable  painter  of  moonlight  and  twilight  scenes.  He  represented  for  the  most  part 
canals  with  towns  on  their  banks,  lighted  by  the  moon,  and  no  other  painter  has  depicted 
the  lights  and  shadows  incident  to  such  scenes  with  so  much  truthfulness  and  clearness. 
He  painted  conflagrations  also  with  equal  truth. 


[  No.  65  ] 


"DUTCH    CHANNEL    BY    MOONLIGHT" 

AERT   VAN    DER   NEER 

A  dark  strip  of  ground,  near  the  water-edge,  introduces  the  foreground  of  this 
picture,  and  on  it  two  fishing-nets  are  stretched,  held  by  stakes.  Between  the 
nets  is  a  withered  tree,  which  forms  a  wonderful  contrast  with  the  reflection  of 
the  moon  in  the  water.  The  river,  bordered  right  and  left  with  small  houses, 
gardens,  and  a  church,  reaches  out  in  the  distance.  The  entire  scene  has  the 
horizon  for  its  background,  where  another  church  with  steeple  looms  up.  The 
moon  shines  brilliantly  in  the  sky,  and  the  artist  has  surrounded  it  with  golden 
light  and  gold-fringed  clouds,  all  of  which  are  reflected  in  the  eddying  river 
near  its  banks.  Numerous  boats  are  sailing  on  the  water. 
Signed  in  lower  right-hand  corner :   "  A.  V.  N." 

Panel,  16^  in.  long  i>y  iz}4  '«•  fyh- 


[  No.  66  ] 

AERT   VAN    DER    NEER 
Dutch  School 


[  No.  66  ] 


"TWILIGHT" 

AERT  VAN  DER  NEER 

A  soft,  red  tone  covers  this  landscape.  In  the  centre  is  a  river  winding  its 
crooked  way  inland,  with  small  towns  on  either  side.  In  the  foreground  a 
man,  woman,  and  little  boy  are  shown  ;  the  former  is  arranging  a  net  on 
stakes.  To  the  left  is  a  clump  of  large  trees,  and  to  the  right  several  houses 
are  seen,  while  cows  and  horses  are  shown  in  the  distance. 
From  the  Gervier  collection  ;  also  from  the  Million  collection. 
Signed  in  the  lower  right-hand  corner :   "  A.  V.  D.  N." 

Panel,  zgy^in.  long  by  l<)*4  in.  high. 


[  No.  67  ] 


EGLON    HENDRICK   VAN    DER    NEER 


Durrh  School 


Born  in  Amsterdam,  1643.  Died  in  Dusseldorf,  May  3,  1703.  Genre,  portrait,  and 
landscape  painter.  Pupil  of  his  father,  Aert  van  der  Neer  ;  then  pupil  of  Jacob  van 
Loo.  His  favorite  and  most  successful  subjects  were  elegantly  attired  ladies.  He  went 
to  France  in  1653,  and  later  to  Rotterdam,  Amsterdam,  and  Brussels,  and  in  1687  to  the 
Court  of  the  Elector  of  the  Palatinate,  to  whom,  as  well  as  to  Charles  II.  of  Spain,  he 
was  court  painter. 


[  No.  67  ] 


"LADY    AND    CHILD" 


EGLON    HENDRICK   VAN    DER    NEER 

A  lady  dressed  in  white  satin,  her  dress  decollete,  occupies  the  centre  of  the 
picture.  She  has  light  hair,  and  holds  her  dress  slightly  raised  with  her  left 
hand,  while  with  her  right  she  takes  an  ostrich  plume  of  red  color  from  her 
Ethiopian  servant.  Around  her  neck  she  wears  a  string  of  pearls.  A  little 
child  has  hold  of  her  left  hand,  and  is  dressed  in  a  blue  gown  which  opens 
below  the  waist,  showing  the  skirt  beneath.  Her  neck  is  adorned  with  a  coral 
necklace,  and  her  head  with  a  blue  ostrich  feather.  A  little  spaniel  runs  play- 
fully before  them.  In  the  background  is  shown  heavy  drapery  over  the  en- 
trance to  the  house,  and  a  marble  terrace  with  trees  beyond. 

Copper,  1 9^4  '"•  l°nZ  h  22  '"■  high- 


[  No.  68  ] 

ADRIAEN  VAN   OSTADE 

2Dutrf)  £d)ooI 

Born  in  Haarlem;  baptized  December  10,  1610;  died  in  Haarlem,  April  27,  1685. 
Pupil  of  Frans  Hals,  and  after  1640  developed  under  Rembrandt's  influence.  His 
family  took  the  name  of  Ostade  from  a  village  now  called  Ostedt,  in  the  environs  of 
Eindhoven,  whence  his  father,  a  weaver,  removed  to  Haarlem,  1605.  Adriaen  at  a 
very  early  age  became  the  favorite  pupil  of  Frans  Hals.  He  married  twice,  and  died  a 
widower.  He  had  many  pupils,  one  of  whom  was  the  famous  Jan  Steen.  He  was  not 
only  an  inimitable  painter  of  rustic  scenes,  but  also  an  excellent  etcher. 


[  No.  68  ] 


"THE   OLD   TOPER" 


ADRIAEN    VAN    OSTADE 

The  subject  is  sitting  by  a  rough,  wooden  table,  and  presents  a  mature  appear- 
ance. His  pipe  and  a  pewter  jug  of  liquor,  together  with  a  bowl,  are  beside 
him.  He  holds  a  glass  in  his  left  hand,  and  with  his  right  points  to  it  as 
though  discoursing  upon  its  merits.  He  wears  a  soft  black  hat,  and  from  his 
general  dress  one  would  readily  conclude  that  he  belonged  to  the  peasant 
class. 

Smith's  Catalogue  Raisonne,  Supplement,  page  81,  No.  6. 
Collection,  Goll  van  Frankenstein  ;  also,  collection,  Pereire. 
Signed  in  lower  left-hand  corner:   "  Ostade,  165 1." 

Panel,  71^  in.  long  iy  8y£  '"■  n'gn- 


[  No.  69  ] 

ADRIAEN  VAN  OSTADE 
2Dutcf)  £d)ool 


[  No.  69  ] 


«  THE    SKITTLE    PLAYERS  " 

ADRIAEN    VAN    OSTADE 

On  the  outside  of  a  small  inn  a  number  of  peasants  are  sitting  around  a  table 
drinking.  In  the  doorway  of  the  inn  stands  a  woman,  with  a  child  in  her  arms, 
in  conversation  with  a  man  with  a  jug  in  his  hand,  who  is  sitting  beside  the  door. 
A  man  with  a  high  soft  white  hat  stands  talking  to  one  in  a  red  jacket  near  the 
centre  of  the  picture,  and  to  the  left  a  peasant  is  playing  at  skittles,  while 
another  watches  him.  In  the  background  are  a  number  of  figures  seated  at  a 
table  under  a  tree  by  the  side  of  the  inn,  and  in  the  distance  are  other  figures, 
a  horse  and  cart  beside  a  large  tree,  beyond  which  the  church  spire  rises. 
Signed  in  the  lower  right-hand  corner  on  bench  :    "A.  V.  Ostade." 

Panel,  27^  in.  long  by  25^  in.  high. 


[  No.  jo  ] 

ADRIAEN  VAN  OSTADE 
Dutch  £cbooi 


[  No.  jo  ] 


"DANCING   TO   MUSIC" 


ADRIAEN   VAN    OSTADE 

This  scene  exhibits  a  large  grange  or  barn,  in  which  eleven  persons  are  assem- 
bled, two  of  whom  are  seated  at  a  table  in  the  centre.  One  of  them,  wearing 
a  green  jacket  and  cap,  sits  with  his  back  to  the  spectator,  and  has  his  arm 
resting  on  the  back  of  his  chair.  The  attention  of  the  gathering  is  directed 
to  two  musicians,  one  of  whom  is  an  old  man  playing  a  "  hurdy-gurdy,"  and 
the  other,  a  boy,  playing  a  fiddle.  On  the  opposite  side  of  the  group  a 
half-tipsy  individual  is  seated,  leaning  forward  to  light  his  pipe.  Another 
man  at  the  table  faces  to  the  front  and  wears  a  blue  jacket ;  and  still  another 
stands  with  his  hat  raised  in  his  hand.  A  dog,  a  pipe,  and  a  variety  of  objects 
are  introduced  to  give  picturesque  effect. 

Collection  Peter  Loquet,  Amsterdam,  1783;  Collection  Calonne,  1788; 
Collection  Montaleau,  1802;  Collection  Van  der  Schrieck-Louvain,  1861; 
Collection  Viardot,  1872;  engraved  by  P.  Le  Rat;  also,  by  Gilbert,  for  the 
Gazette  des  Beaux  Arts;  exhibited  at  the  Royal  Academy,  1880;  Smith's 
Catalogue,  Supplement  No.  57. 
Signed  in  lower  right-hand  corner:   "A.  van  Ostade,  1643." 

Panel,  23^  in.  long  by  17%  in.  high. 


[  No.  71  ] 

ADRIAEN    VAN    OSTADE 
Dutch  School 


[No.  71  ] 


"DANCING   IN   THE   BARN" 


ADRIAEN   VAN   OSTADE 

The  picture  here  presented  is  the  interior  of  a  large  barn,  in  which  is  gathered 
a  bevy  of  merry-making  boors.  A  man  and  woman  are  dancing  to  the  music 
of  a  bagpipe,  which  is  being  played  by  a  musician  who  occupies  an  elevated 
position  to  the  right.  In  the  foreground  a  man,  wearing  a  blue  coat,  is  hold- 
ing a  jug  in  his  left  hand,  and  offering  a  glass  of  beer  to  a  companion,  who 
raises  his  hat  as  he  accepts  it.  A  woman,  partly  hidden,  stands  beside  them. 
She  wears  a  red  dress  and  white  cap.  A  chair  is  also  shown  in  the  foreground, 
and  beside  it  a  little  boy,  wearing  a  large  hat,  is  sitting.  To  the  left,  and  near 
the  wall,  are  three  men,  drinking  and  smoking.  In  the  doorway,  through 
which  can  be  seen  the  landscape,  three  figures  are  shown. 
From  collection  of  Prince  Demidoff. 
Signed  in  lower  left-hand  corner  :   "A.  Ostade,  1652." 

Panel,  24  in.  long  by  25*^  in.  high. 


[  No.  72  ] 

ADRIAEN    VAN    OSTADE 
Durrli  School 


[  No.  72  ] 


"INTERIOR  OF   ROOM   WITH   MEN   DRINKING" 


ADRIAEN  VAN  OSTADE 

The  picture  shows  the  interior  of  a  room  with  six  figures,  —  three  in  the 
foreground  to  the  left  and  three  in  the  background  to  the  right.  Two  of  the 
men  in  the  foreground  are  sitting.  One  of  them  is  smoking,  and  the  other,  who 
is  without  a  hat,  holds  up  a  glass  of  wine  in  his  left  hand ;  the  third  leans 
over  a  bench  or  table,  and  is  evidently  in  conversation  with  him.  Four  of  the 
men  wear  hats.  A  window  is  shown  in  the  rear,  and  a  cage  with  a  black  bird 
in  it  hangs  in  the  middle  of  the  room.  A  door  opens  to  the  left. 
Signed  in  the  lower  left-hand  corner :  "  A.  Ostade." 

Panel,  10  in.  long  by  1 1  y2  in.  high. 


[No.  73] 

ISACK    VAN    OSTADE 
Dutch  School 

Born  in  Haarlem,  baptized  June  i,  1621  ;  died  there,  buried  October  16,  1649.  Genre 
and  landscape  painter.  Brother  and  pupil  of  Adriaen.  His  pictures  which  are  of  most 
value  are  his  landscapes,  with  figures,  in  which  his  individuality  found  scope. 


[No.  73] 


"INTERIOR   OF  A  STABLE" 


ISACK   VAN    OSTADE 

A  large  rustic  stable,  with  a  fully  saddled  bay  horse  as  a  central  figure,  is  here 
presented.  Near  the  horse  is  a  rack  containing  fodder,  and  a  little  to  the  rear 
is  a  servant  at  work  with  a  shovel.  In  the  background,  to  the  left,  a  peasant's 
cart  is  shown  against  the  wall ;  also  a  goat  on  a  beam  of  wood  lying  on  the 
ground.  Around  are  a  number  of  accessories,  including  a  pitchfork,  a  tun,  a 
bucket,  and  a  basket,  etc. 

Collection,  Alb.  Levy,  London ;  also,  collection,  Baron  de  Beurnonville,  Paris. 
Signed  in  lower  centre:   "  Isack  van  Ostade,  164." 

Panel,  2  3  in.  long  by  15^  in.  high. 


[No.  74] 

ISACK   VAN    OSTADE 
SDutcf)  ^tfjool 


[  No.  74  ] 


"THE   ITINERANT  MUSICIAN" 


ISACK   VAN    OSTADE 

In  this  picture  the  artist  has  presented  a  number  of  peasants  congregated 
around  the  door  of  their  cottage  home,  waiting  for  their  frugal  meal.  They 
are  supposed  to  have  returned  from  a  day's  work,  and  noticing  a  passing 
musician  with  a  flute,  they  stop  him.  He  seeks  to  entertain  them  with  the 
melody  of  his  instrument,  and  they  seem  to  listen  attentively.  In  the  fore- 
ground is  a  little  boy  wearing  a  green  coat  and  a  large  hat.  In  front  of  him 
is  another  boy  with  a  pink  coat ;  to  the  left  a  man  sits  upon  the  ground  and  a 
woman  stands  in  the  doorway  of  the  cottage.  Two  chickens  are  feeding  in 
the  vicinity,  and  a  horse  is  drinking  at  a  water-trough  behind  the  group.  In 
the  distance  a  horse,  cart,  and  several  men  are  shown.  A  large  tree  stands 
in  the  centre  of  the  picture. 
Signed  in  lower  left-hand  corner:   "  Isack  van  Ostade,  1648." 

Panel,  26  in.  long  by  18  in.  high. 


[No.7S] 

JOACHIM    DE    PATINIR 
$ lenrigi)  £djooI 

Born  either  at  Dinant  or  Bouvignes,  on  the  opposite  bank  of  the  Meuse,  about  1490; 
died  before  the  5th  of  October,  1524,  and  after  15 19.  He  has  been  called  the  inventor 
of  landscape  painting  so  far  as  the  North  is  concerned,  but  that  is  an  exaggeration.  It 
would  be  truer  to  say  that  he  was  the  first  Fleming  to  make  his  landscapes  distinctly 
more  important  than  the  figures  with  which  they  are  peopled. 


[No.  75] 


"THE   APOSTLES   AFTER   THE   CRUCIFIXION 
WORSHIPING    IN    A    CAVE" 


JOACHIM    DE    PATINIR 

The  picture  represents  the  apostles  after  the  crucifixion  worshiping  in  a  cave. 
There  are  five  within  and  seven  without  the  cave.  To  the  right,  one  of  them 
is  seen  sitting  on  a  rock,  while  beside  him  another  dressed  in  a  yellow  gown  is 
seen  to  weep.  On  the  left  are  four  in  a  group  and  one  about  to  enter  the  cave. 
On  the  top  of  the  picture  the  Ascension  is  represented.  Christ  is  robed  in  a 
blue  gown,  the  shoulders  of  which  are  supported  by  angels.  Angels  also  sur- 
round and  support  him  from  beneath.  In  the  top  part  of  the  picture  sits  God, 
the  Father,  robed  in  white  and  red,  and  Christ,  the  Son,  in  a  garment  of  light 
red.  In  the  distance  is  a  landscape  with  a  river  flowing  through  it  on  the  right. 
In  circles  at  the  upper  left-hand  and  right-hand  corners  the  Birth  and  Resurrec- 
tion are  depicted. 

In  the  lower  right-hand  corner  is  a  crest  with  the  following  inscription : 
"  Istz  Gvot  So  Gebs  Go." 

Panel,  23  in.  long  by  24*4  in.  high. 


[  No.  76  ] 

BERNARDINO    DI    BETTI    (PINTURRICCHIO  —  Little  Painter) 

ftmbrian  £tf)ooI 

Born  in  Perugia,  supposedly  about  1454;  died  at  Sienna,  December  11,  1513.  His 
real  name  was  Bernardino  di  Betti  Biagi,  sometimes  also  called  Lo  Sordicchio,  on  ac- 
count of  his  deafness  and  the  insignificance  of  his  personal  appearance.  He  almost 
always  painted  in  distemper,  and  worked  in  the  spirit  of  the  Umbrian  painters.  He  was 
all  his  life,  says  Charles  Blanc,  what  Raphael  was  at  twenty  years  old.  In  1484  Pintur- 
ricchio  became  the  partner  of  Perugino  at  Rome  and  worked  with  him  in  the  Sistine 
Chapel. 


[  No.  76  ] 


"PORTRAIT    OF    C^SAR    BORGIA" 

BERNARDINO    DI    BETTI    (Pinturricchio  —  Little  Painter) 

It  is  a  portrait  painted  in  half  size,  showing  the  bust  of  a  man  with  long  wav- 
ing locks  drooping  on  his  shoulders.  His  jacket  is  of  red  stuff  bound  with 
black  at  the  top,  and  above  a  white  undergarment  tied  with  a  small  cord.  A 
fur  cape  rests  upon  his  shoulders.  On  his  head  is  a  black  hat  turned  up  at  the 
edge,  with  a  white  feather  in  it.  Through  the  window  is  seen  a  landscape  in 
the  distance. 

From  the  collection  of  Baron  Lazzaroni  in  Rome. 
Signed  in  the  upper  right-hand  corner:  "  iETATF  SVJE  XXXII." 

Panel,  8  x/2  in.  long  by  1 1  y^  in.  high. 


[  No.  77  ] 
PAULUS    POTTER 
2Dutri)  ^rtjool 

Born  at  Enkhuysen,  1625;  baptized  November  20,  1625;  died  in  Amsterdam,  and 
buried  January  17,  1654.  Animal  and  landscape  painter.  Son  and  pupil  of  Pieter 
Potter.  Family  settled  at  Amsterdam  in  163 1,  and  in  the  following  year  Paulus  went  to 
study  painting  at  Haarlem,  under  Jacob  de  Wet,  the  Elder. 


[  No.  77  ] 


"THE    RED    BULL" 


PAULUS   POTTER 

A  young  bull,  standing  a  little  obliquely  from  the  front,  with  head  turned 
aside,  is  the  central  figure.  In  the  distance,  and  a  little  to  the  right,  is  a  vil- 
lage, the  church  spire  of  which  is  the  most  prominent  object.  On  the  back 
of  the  panel  is  a  writing  in  black,  which  is  almost  obliterated,  but  so  much  of 
it  as  can  be  distinguished,  after  translation,  conveys  the  idea  that  this  picture 
is  the  model  of  a  bull  which  was  painted  for  the  Prince  of  Orange  by  P. 
Potter,  1648. 

From  the  Hecht  Collection,  Paris. 
Signed  in  the  lower  left-hand  corner :   "  P.  Potter." 

Panel,  ioj4  in.  long  £y  5*4  '"•  high- 


[  No.  78  ] 
PAULUS    POTTER 


[No.  78] 

"LANDSCAPE  WITH   CATTLE  AND   FIGURES" 

PAULUS  POTTER 

To  the  right  are  two  cows  lying  down,  and  in  the  middle  foreground  a  red 
cow  drinking  from  a  pool  of  water.  Two  other  cows  are  on  the  hill  to  the 
left.  One  stands  grazing ;  the  other  is  lying  down.  A  man  and  a  woman  are 
seated  on  the  grass,  and  to  the  left  a  woman  carrying  a  jug  is  coming  down 
the  hill.  A  row  of  five  trees  to  the  left  on  the  middle  background. 
This  picture  is  mentioned  in  Smith's  Catalogue,  part  5,  page  144,  number  64, 
as  follows :  "  A  Dutch  gentleman  and  his  wife  enjoying  the  air  of  a  fine 
summer  evening.  The  view  represents  a  hilly  meadow  with  a  pond  in  front  at 
which  a  red  cow  is  drinking.  A  row  of  tall  elms  adorn  the  summit  of  the  hill, 
near  which  are  seated  the  probable  owner  of  the  farm  and  his  wife  (these  are 
supposed  to  represent  the  artist  and  his  wife).  On  the  right  is  a  cow  grazing, 
and  behind  them  is  another  cow  on  the  farther  side  of  the  pond.  A  peasant 
woman  bearing  a  pitcher  in  her  hand  is  approaching  in  front.  At  the  bottom 
of  the  hill,  at  the  opposite  side,  are  seen  two  cows  lying  down  together.  A 
gleam  of  sun  from  a  partially  overcast  sky  evinces  by  the  lengthened  shadows 
the  decline  of  day.  Formerly  in  the  celebrated  collection  of  M.  Lormier.  Col- 
lection of  Earl  of  Radstock,  1826.  Exhibited  in  the  British  Gallery,  1821. 
Now  in  the  possession  of  Messrs.  Woodburn." 
Signed  in  the  lower  right-hand  corner:  "  Paulus  Potter  f.  1650." 

Panel,  16  in.  long  by  14  in.  high. 


[No.79] 

ANDREAS    PREVITALI 
Benetian  £cfjooI 

Born  at  Bergamo  about  1480  (?)  ;  died  there  (?)  about  November  7,  1528.  At  the  close 
of  the  fifteenth  century  he  was  known  in  Venice  as  Andreas  Cordeliaghi  or  Cordelia.  He 
assumed  the  name  of  Previtali  about  151 5.  His  works  are  frequently  confounded  with 
those  of  Catena  and  Basaiti. 


[  No.  79  ] 


"VIRGIN    AND    CHILD" 


ANDREAS  PREVITALI 

The  Virgin  is  sitting  in  the  centre  of  the  picture  with  the  infant  Christ  on  her 
left  knee.  She  is  looking  towards  her  right,  where  the  donor  is  kneeling  in  an 
attitude  of  supplication  to  the  Christchild.  The  Virgin  touches  the  top  of  the 
donor's  head  with  the  ends  of  her  fingers,  as  if  she  were  bestowing  a  blessing. 
In  the  background  there  is  a  landscape  and  part  of  the  tower  of  an  old  castle ; 
mountains  in  the  distance.  The  Virgin  wears  a  richly  figured  cloth  over  her 
head,  and  the  color  of  the  dress  is  deep  red.  A  dark  cloak  is  thrown  over  her 
person.  To  the  spectator's  right  are  the  following  words  and  letters :  "  An- 
dreas. C.  A.  Disci.  Iovanis  Belini  P."  This  picture  was  formerly  in  the  pos- 
session of  Count  Picho  Antonio  Porto. 

Panel,  30^  in.  long  by  23^  in.  high. 


[  No.  80  ] 

RAPHAEL    SANZIO 
Umbrinn  anti  Hainan  ^ctioolg 

Born  at  Urbino,  April  6,  1483  ;  died  in  Rome,  April  6,  1520.  Pupil  of  Timoteo  Vite. 
Early  in  the  year  1500,  was  apprentice  to  Perugino.  He  was  the  second  son  and  third 
child  of  Giovanni  Santi  and  his  wife,  Magia  Ciarla.  His  name  of  Sanzio  is  italianized 
from  Sanctius,  which  in  its  turn  was  latinized  from  the  patronymic  Santi.  His  family 
name  was  Sante,  Santi,  Sanctius,  or  Sanzio.  He  went  to  Florence  in  1504  and  remained 
there  perhaps  a  year,  during  which  he  painted  a  number  of  important  pictures.  In  1506, 
at  the  time  when  Leonardo  da  Vinci  and  Michelangelo  were  engaged  upon  their  cele- 
brated cartoons  for  the  great  hall  of  the  Palazzo  Vecchio,  Raphael  studied  both,  but 
especially  those  of  Leonardo,  who,  together  with  Fra  Bartolommeo,  exercised  great  influ- 
ence over  him  during  his  two  years'  residence  in  that  city,  which,  with  the  exception  of 
a  short  visit  to  Urbino  and  Bologne,  lasted  until  the  summer  of  1508.  During  the 
twelve  years  of  his  life  at  Rome  in  the  service  of  Julius  II.  and  Leo  X.  Raphael 
accomplished  a  prodigious  amount  of  work  as  painter,  architect,  sculptor,  and  archaeolo- 
gist. Leo  X.  made  him  inspector  of  all  marbles  dug  up  at  Rome,  commissioned  him  to 
make  plans  and  elevations  of  her  ancient  edifices,  and  on  the  first  of  August,  15 14, 
appointed  him  to  succeed  Bramante  as  head  architect  of  St.  Peter's. 


[  No.  80  ] 


"THE   HOLY   FAMILY  AND   THE   SPARROW" 


RAPHAEL    SANZIO 

The  infant  Christ  is  here  typified  sitting  on  the  lap  of  the  Virgin  mother, 
looking  with  fear  at  the  bird  which  the  infant  St.  John,  who  is  being  held  by 
St.  Elizabeth,  is  holding  up  to  him.  The  sparrow  seems  possessed  of  a  war- 
like temperament,  and  the  infant  Saviour  appears  intuitively  to  shrink  from  it. 
Both  infants  are  nude.  The  Virgin  is  attired  in  a  red,  sleeveless  dress,  with 
white  underwaist.  A  blue  robe  is  thrown  around  her  from  her  waist  down. 
One  bare  foot  shows  from  under  the  robe.  St.  Elizabeth  is  in  a  half-kneeling 
posture,  and  has  a  light  brown  robe  about  her.  The  right  landscape  shows  a 
ruined  temple,  with  trees,  houses,  and  a  church  in  the  distance. 
Belonged  to  the  family  Crossibili  de  Ferrare.  From  the  collection  of  Prince 
Paskewitch. 

Panel,  7^3  '"■  to"g  h  9H  '"•  ^'gh- 


[  No.  8 1  ] 

REMBRANDT  VAN  RIJN 
SDutctj  M>tfyool 

Born  near  Leyden,  July  15,  1607;  died  at  Amsterdam,  October  8,  1669.  Pupil  of 
Jacob  van  Swanenburch,  Pieter  Lastman,  and  Jacob  and  Jan  Pinas.  His  father,  Har- 
men  Gerritsz,  a  miller,  and  his  mother,  Neeltgen  Willems  van  Suyddtbroek,  daughter 
of  a  baker,  lived  in  a  house  situated  in  the  Weddersteeg,  near  the  Witte  Poort,  and 
there  Rembrandt  was  born.  Having  little  taste  for  books  and  a  strong  natural  love  of 
art,  he  naturally  took  to  his  work.  He  never  left  Holland,  and  in  it  visited  only  Dord- 
recht, Friesland,  Gueldres,  and  perhaps  Cleves.  With  his  first  wife,  Saskia  van  Ulen- 
burgh,  whom  he  married  in  1634,  and  who  died  in  1642,  he  lived  very  happily,  and 
the  portraits  of  her  at  Cassel,  Dresden,  and  Berlin  are  among  his  finest  works.  They 
lived  in  a  house  at  Amsterdam  in  the  Breedstraat,  where  he  collected  many  fine  Italian 
and  Dutch  pictures,  glass,  armor,  porcelain,  etc.  For  fourteen  years  after  Saskia's 
death,  Rembrandt  and  his  son  Titus  lived  in  this  house,  at  the  end  of  which  time  —  as 
his  affairs  were  hopelessly  involved  —  it  was  sold  by  auction  with  its  contents.  For  the 
remainder  of  his  days  the  great  artist  lived  in  comparative  poverty. 


[No.  81  ] 
"PHILEMON    AND    BAUCIS" 

REMBRANDT   VAN    RIJN 

This  subject  was  doubtless  taken  from  the  works  of  Dryden  by  the  master ; 
but  Dryden,  no  doubt,  had  access  to  Ovid,  where  the  suggestion  was  first  found. 
The  story  of  the  picture  is  that  Jupiter  and  Mercury  were  one  day  wandering 
through  Phrygia,  asking  for  shelter  among  the  natives,  but,  as  foreign  intruders, 
they  received  very  little  attention.  Only  a  poor  old  couple,  Philemon  and 
his  wife  Baucis,  hospitably  invited  them  into  their  humble  dwelling,  where 
they  served  the  finest  fruit  they  could  find  and  their  only  goose  —  which 
they  had  fattened  with  so  much  care  —  with  great  promptitude.  During  the 
repast  the  gods  made  themselves  known  to  their  hosts,  and  asked  them  what 
reward  they  wished  for  their  excellent  reception.  The  old  couple  knelt  down 
and  begged  that  they  both  should  die  at  the  same  time.  Their  wish  was 
granted,  and  Baucis  was  metamorphosed  into  a  linden  and  Philemon  into  an 
oak.  Posterity  has  preserved  their  names  coupled  together  as  the  symbol  of 
matrimonial  affection.  In  treating  the  subject,  Rembrandt  has  presented  the 
scene  almost  entirely  in  clare-obscure.  A  single  light  brightens  the  interior  of 
the  peasants'  cottage,  the  head  of  Mercury  being  in  the  dark  and  forming  a  vivid 
contrast.  On  the  left  a  fire  is  burning  on  the  hearth  in  the  background.  Jupiter's 
face  is  brilliantly  illuminated ;  the  light  also  falls  on  his  dazzling  dress. 
Mentioned  by  Dr.  Bode  in  his  catalogue  of  certified  genuine  pictures  by  Rem- 
brandt. Also  in  Smith's  Catalogue,  vol.  vii.  No.  1 94. 
Mezzotinted  by  Thomas  Watson,  London,  1 772. 
Signed  in  lower  left  hand  corner:   "  Rembrandt  f.,  1658." 

Panel,  27%  in.  long  by  24^  in.  high. 


[  No.  82  ] 

REMBRANDT   VAN    RIJN 
2Dutcf)  £cfjooI 


[  No.  82  ] 

«  PORTRAIT    OF    A    RABBI  " 

REMBRANDT   VAN    RIJN 

The  Rabbi's  face  is  turned  a  little  to  the  left.  His  eyes  are  bluish  gray,  and 
the  eyelids  show  the  pinkish  tint  of  old  age.  His  nose  is  prominent,  and  his 
lips  compressed.  A  heavy,  full  gray  beard  surrounds  his  face,  and  he  also 
wears  a  mustache.  A  turban  of  black  velvet,  ornamented  in  front  with  a 
brooch,  adorns  his  head,  and  around  his  neck  a  medallion  is  suspended.  A 
dark  cloak,  trimmed  with  brown  fur,  hangs  from  his  shoulders.  His  breast, 
which  is  partly  covered  with  a  crimson  vest,  ornamented  with  gold  braid  set 
with  jewels,  is  also  adorned  with  a  fine  linen  tunic.  His  complexion  is  florid 
and  shows  perfect  health.  This  picture  is  from  the  collection  of  Prince  Demi- 
dofF,  and  was  purchased  by  him  at  sale  of  Sir  Philip  Miles,  Leigh  Court,  1884, 
in  whose  possession  it  was  for  many  years.  Mentioned  in  "  Catalogue  His- 
torique  et  Descriptif  des  Tableaux  et  Dessins  de  Rembrandt,"  by  Eugene  Du- 
tuit,  p.  47. 

Panel,  20  in.  long  by  24  in.  high. 


[No.  83] 

REMBRANDT   VAN    RIJN 
SDuttf)  £tf)ool 


[Afc.83] 


"RESURRECTION    OF    ST.    LAZARUS" 


REMBRANDT   VAN    RIJN 

The  saint  is  represented  as  rising  from  his  sepulchre.  The  priests  and  attend- 
ants grouped  about  him  seem  to  manifest  great  surprise  at  the  sight.  A  young 
girl  is  kneeling  in  the  foreground,  while  in  the  background  the  heads  of  five 
figures  are  shown  in  a  group.  The  artist  has  thrown  a  bright  light  from  the 
left  of  the  picture,  which  strikes  full  upon  the  saint,  and  the  reflection  from  it 
is  apparent  on  several  of  the  surrounding  figures.  The  wall  is  hung  with  a 
hat,  sword,  a  quiver  with  arrows,  and  a  bow. 

Panel,  14%  in.  long  iy  J?}{  in.  high. 


[  No.  84  ] 

REMBRANDT   VAN    RIJN 
SDutcfj  <&rf)ool 


[  No.  84  ] 

"PORTRAIT   OF  JORIS   DE    COULERY" 

REMBRANDT    VAN    RIJN 

This  picture  presents  a  captain  in  the  Dutch  navy  at  two-thirds  length,  with 
florid  face  surrounded  by  bushy  dark  hair.  His  eyes  are  brown,  and  he  wears 
a  dark  mustache  turned  up  at  the  ends,  and  an  imperial.  His  coat  is  yellowish 
brown,  and  around  his  neck  is  a  metal  collar  and  shoulder-plate.  His  sword- 
belt  is  over  his  right  shoulder,  passing  diagonally  across  his  breast.  In  his  right 
hand  he  carries  an  arquebuse,  while  his  left  rests  upon  his  hip.  It  is  spoken 
of  by  C.  Vosmaer,  of  The  Hague,  in  his  book  entitled,  "  Rembrandt,  His 
Life  and  His  Works,"  page  427,  as  follows :  "  Dr.  A.  Bredius,  director  of 
the  Mauritshuis  —  the  museum  of  old  art  at  The  Hague  —  found  a  will 
signed  by  Joris  de  Coulery,  dated  1640,  in  which  this  picture  is  willed  to 
his  son." 

It  belonged  to  the  Chevaliers  Quarles  van  Uffbrd,  of  The  Hague,  for  over  a 
century,  who  received  it  into  their  halls  through  the  marriage  of  an  old  and 
noble  family  of  Dordrecht,  who  were  heirs  of  the  De  Coulery  family.  For 
charitable  purposes  it  was  exhibited  in  1867  in  Amsterdam  ;  at  Arti  et  Amicitia, 
in  1  88 1  ;  at  The  Hague,  with  the  collection  of  H.  H.  MM.,  the  King  and 
Queen  of  Holland,  in  their  palace;  and  in  1882,  in  the  exposition  Neer- 
landaise  de  Beaux  Arts  Organisee  au  benefice  de  la  Societe  Neerlandaise  de 
Bienfaisance  de  Bruxelles. 
Signed  on  the  right-hand  side:  "  Rt.  van  Ryn,  1632." 

Canvas  on  panel,  33^  in.  long  by  40^  in.  high. 


[  No.  85  ] 

SIR   JOSHUA    REYNOLDS 
<£ttffttgf)  £cl)ool 

Born  at  Plympton,  Devonshire,  July  16,  1723  ;  died  in  London,  February  23,  1792. 
Son  of  the  Rev.  Samuel  Reynolds,  master  of  the  Grammar  School  at  Plympton,  St. 
Mary's,  Plymouth.  Went  to  London  in  1741  as  a  pupil  of  Thomas  Hudson,  and  after 
less  than  two  years'  study  returned  home  and  painted  many  portraits  at  a  low  price.  In 
1746  he  began  to  practice  in  London,  and  in  1749  accompanied  Commodore,  afterwards 
Lord  Keppel,  in  the  ship  Centurion,  to  the  Mediterranean.  At  Rome  he  caught  a 
cold  while  working  in  the  Sistine  Chapel,  which  made  him  deaf  for  the  rest  of  his  life. 
He  returned  to  England  in  October,  1752,  and  settled  in  London,  first  in  St.  Martin's 
Lane.  In  1768,  on  the  establishment  of  the  Royal  Academy,  he  was  chosen  its  first 
president  and  was  knighted  by  George  III.  Upon  the  death  of  Allan  Ramsay,  1784, 
he  became  principal  painter  in  ordinary  to  the  king.  He  died  unmarried,  and  was  buried 
in  St.  Paul's  Cathedral  near  Sir  Christopher  Wren. 


[No.  85] 


"PORTRAIT    OF    LADY  O'BRIEN" 


SIR  JOSHUA    REYNOLDS 

Sitting  on  a  terrace  or  balcony,  with  her  elbow  resting  on  an  immense  urn, 
and  her  head  on  her  right  hand,  Lady  O'Brien  seems  to  be  looking  into  the 
future.  She  has  a  troubled  expression,  as  if  all  did  not  go  well  with  her. 
Her  left  hand  falls  on  her  right  arm,  and  her  hair,  which  is  loose  behind,  has 
entwined  her  neck  and  fallen  over  her  bosom.  The  drapery  which  rests  on 
her  shoulders  partly  covers  the  urn.  In  the  right-hand  background  are  folds 
of  heavy  dark  red  curtains,  and  the  sky  is  seen  to  the  left.  The  turrets  of  a 
castle  rise  in  the  distance. 

Canvas,  39^  in.  long  by  49^  in.  high. 


[  No.  86  ] 
GEORGE    ROMNEY 

Born  at  Dalton-le-Furness,  Lancashire,  England,  December  15,  1734;  died  at  Kendal, 
November  1 5,  1 802.  After  acquiring  a  little  knowledge  of  painting  from  Steele,  a  painter 
at  Kendal,  he  supported  himself  by  painting  portraits  in  the  north  of  England  at  two 
guineas  a  head  until  1762,  when  he  went  to  London.  In  that  year  and  in  1763  he  gained 
premiums  from  the  Society  of  Arts  for  his  pictures  of  "  The  Death  of  Wolfe  "  and 
"The  Death  of  King  Edward."  In  1773  he  visited  Italy,  and  after  a  two  years'  absence 
established  himself  in  London,  where  until  1797,  when  he  removed  to  Hampstead,  he 
divided  public  patronage  with  Reynolds  and  Gainsborough.  His  famous  model  was  the 
notorious  but  beautiful  Lady  Hamilton,  whose  face  he  reproduced  under  many  disguises. 


[  No.  86  ] 


"PORTRAIT    OF    MRS.    RALPH    WILLETT" 


GEORGE    ROMNEY 

This  is  a  half-length  portrait  of  Mrs.  Willett  sitting  in  a  chair.  She  is  dressed 
in  a  reddish  brown  gown  with  a  white  yoke,  and  a  black  lace  fichu  is  thrown 
over  her  shoulders.  A  black  band  is  around  her  neck.  She  wears  a  lace  cap 
closely  drawn  and  fastened  under  the  chin.  The  countenance  is  quite  severe, 
showing  great  determination  in  its  possessor. 

Canvas,  25  in.  long  by  30  in.  high. 


[  No.  87  ] 

PIETER   PAULUS  RUBENS 
f  lemigfj  £cf)ool 

Born  at  Siegen,  Westphalia,  June  29,  1577  ;  died  at  Antwerp,  May  30,  1640.  Pupil  of 
Adam  van  Noort,  Tobias  Verhaegt,  and  Otto  van  Veen.  From  1596  to  1600  he  studied 
in  Venice.  In  July,  1601,  the  Duke  of  Mantua,  Vincenzo  Gonzaga  I.,  sent  him  to  Rome 
to  copy  pictures  for  his  gallery.  He  returned  to  Mantua  in  1603.  In  March  he  was 
sent  to  Spain  with  presents  from  the  duke  to  the  king.  In  1605  he  went  to  Rome  to 
continue  his  studies.  In  1608  he  returned  to  Antwerp  on  account  of  the  death  of  his 
mother.  October  13,  1609,  he  married  Isabella  Brandt,  who  died  in  1626.  On  Decem- 
ber 6,  1630,  he  married  Helena  Fourment,  who  was  his  niece  by  marriage.  His  two 
wives  were  the  models  for  many  of  his  paintings.  Besides  being  a  painter,  Rubens  was 
also  a  great  diplomat.  He  acted  as  ambassador  for  negotiating  between  his  own  and 
other  countries. 

In  1633  his  protectress,  the  Archduchess  Isabella,  died.  This  entailed  much  trouble 
upon  him  and  greatly  afflicted  him.  He  also  suffered  much  from  the  gout,  but  continued 
to  paint  with  the  same  wonderful  facility  and  power.  The  works  of  this  great  artist, 
many  of  which  were  wholly  or  partially  painted  by  his  scholars,  after  his  designs,  are 
between  two  and  three  thousand. 


f  No.  87  ] 

"IXION    AND    HERA" 

PIETER    PAULUS    RUBENS 

Ixion  and  the  phantom  of  Hera  are  seated  on  clouds  at  the  right  of  the  pic- 
ture, while  the  goddess  herself  stands  nude  in  the  front  with  a  peacock  (the 
symbol  of  majesty)  at  her  feet.  Her  back  is  toward  the  deluded  king,  and 
her  manner  expresses  the  pleasure  she  feels  at  the  deception.  Behind  her  a 
winged  female  with  a  fox's  skin  over  her  shoulder  is  raising  the  drapery  to 
reveal  the  pair.  Zeus,  seated  on  Mount  Olympus,  is  seen  on  the  opposite  side 
in  the  background,  surrounded  by  light,  while  Amor  with  his  flaming  torch 
is  hastening  toward  him. 

Ixion  was  pitied  by  Zeus,  but  proved  treacherous.  He  had  a  meeting  planned 
with  the  wife  of  Zeus,  but  instead  of  Hera  came  a  cloud  similar  to  her,  and 
deceived  Ixion.  This  moment  is  represented  by  the  picture.  See  Smith's 
Catalogue  Raisonne,  No.  846,  page  249.  The  picture  was  also  described  in 
Wauter's  "  La  Peinture  Flamande,"  and  is  known  as  the  best  picture  of  all 
Rubens's  mythological  subjects. 

The  picture  was  till  1722  in  the  collection  of  Van  de  Amory,  afterwards  in 
that  of  Sir  George  Page,  and  also  of  Welborne  Ellis  Agar,  Esq.  Since  1806 
it  has  been  the  principal  piece  of  the  Earl  of  Grosvenor's  (Duke  of  Westmin- 
ster's) collection,  for  whom  it  was  bought  by  Stephen  Bourgeois,  and  from 
whom  it  was  in  turn  purchased  by  Mr.  Yerkes. 

Canvas,  98  in.  long  by  65  in.  high. 


[  No.  88  ] 
JACOB   VAN    RUISDAEL 
2Dutcf)  £cf)ooI 

Born  in  Haarlem  about  1625  ;  died  there  in  March,  1682.  Pupil  of  his  father,  Izack, 
and  also  of  his  uncle  Solomon  van  Ruisdael.  Joined  the  Guild  of  St.  Luke  at  Haarlem, 
1648.  The  figures  and  animals  introduced  in  his  paintings  are  by  Berchem,  Adriaen  van 
de  Velde,  Wouwerman,  Lingelbach,  Vermeer,  and  Eglon  van  der  Neer. 


[  No.  88  ] 


"LANDSCAPE" 

JACOB    VAN    RUISDAEL 

A  river  runs  between  two  hills,  one  in  the  foreground  and  the  other  in  the 
centre  of  the  picture.  Beyond  to  the  right  the  hills  are  seen  rolling  to  the 
horizon.  On  the  right-hand  side  of  the  picture  is  a  woman  driving  a  laden 
mule,  while  behind  her  follows  a  small  dog.  To  the  left  is  seen  the  river 
with  sailboats,  and  on  the  farther  bank  the  roof  of  a  church  and  the  spire  are 
seen  above  the  trees. 
Signed  in  the  lower  right-hand  corner:  "J.  Ruisdael." 

Canvas,  43  in.  long  by  32  in.  high. 


[  No.  89  ] 

ANDREAS    DE    SOLARIO 
HomfearD  School 

Born  at  Solario  near  Milan  about  1458.  Died  about  1530.  He  and  his  brother,  a 
hunchback  and  a  great  sculptor,  frequently  finished  their  different  works  of  art  together. 
He  went  about  1490  to  Venice. 


[  No.  89  ] 


"THE    ANNUNCIATION" 


ANDREAS    DE   SOLARIO 

The   Virgin  is  kneeling  by  a  table  covered   with  a  green   cloth,   the  angel 
kneeling  in  the  foreground  to  the  left  of  the  Virgin.     Through  the  open  win- 
dow a  landscape  can  be  seen.      In  the  back  of  the  room  there  stands  a  couch 
with  large  columns  and  curtains. 
From  the  collection  of  Mr.  Alcott  Kay,  Glasgow. 

In  a  catalogue  of  the  Burlington  Fine  Arts  Club  for  an  exhibition  in  1898, 
the  picture  is  described  as  follows :  "  On  the  right  is  seen  the  Virgin  full  face, 
kneeling  at  a  table,  her  left  hand  resting  on  an  open  book  ;  on  the  left  the 
angel  seen  in  profile  kneeling  on  one  knee  and  bearing  a  branch  of  lilies. 
Behind  the  Virgin  a  large  canopied  couch  with  green  curtains.  On  the  left 
a  landscape  seen  through  the  opening.  Lent  by  Arthur  Kay." 
Signed  in  the  lower  right-hand  corner:  "Andreas  de  Solario  P  1506." 

Panel,  3 1  y^  in.  long  by  30%  in.  high. 


[  No.  90  ] 

JOHAN    ADRIAENSZ   VAN    STAVERN 
Dutct)  .^rtjooi 

Born  at  Leyden.  Date  not  known.  Died  there  after  1668.  Genre  painter,  painted 
hermits,  old  men,  and  women  in  a  highly  finished  style  like  that  of  Gerard  Dou,  whom  he 
closely  imitated. 


[  No.  90  ] 


"THE    HERMIT" 


JOHAN    ADRIAENSZ    VAN    STAVERN 

The  scene  here  presented  is  the  entrance  to  a  rocky  cave,  and  an  old  hermit 
sits  near  the  entrance  studying  a  book,  which  is  resting  upon  a  large  boulder. 
Beneath  the  book  a  skull  is  shown,  and  beside  it  a  lantern  is  lying  on  its  side. 
The  subject  has  his  hands  clasped,  and  is  pursuing  his  studies  intently.  His 
flowing  beard  and  white  locks  give  him  a  saintly  appearance. 

Panel,  12  in.  long  by  14%  in.  high. 


[  No.  91  ] 

JAN    STEEN 
2Dutcfj  £cfjool 

Born  at  Leyden,  1626;  died  there  February  3,  1679.  Pupil  of  Knupfer,  Adriaen 
Brouwer,  Jan  van  Goyen.  Lived  for  some  time  in  Haarlem  before  1648,  when  he  was 
received  into  the  Guild  of  Leyden.  Went  to  the  Hague  in  1649,  lived  there  until 
1653,  then  again  at  Leyden,  1658  or  1659.  Said  to  have  kept  a  brewery  at  Delft,  where 
he  lived  a  short  time,  probably  between  1650  and  1652.  At  various  times  from  1661 
to  1669  he  resided  at  Haarlem,  in  constant  difficulties  with  creditors.  His  first  wife  hav- 
ing died  in  Haarlem,  1669,  he  married  a  widow,  Maritje  Herculens,  in  1673.  He  stands 
foremost  among  the  greatest  Dutch  painters  of  familiar  life,  which  he  illustrates  with 
rare  mastery,  lashing  the  follies  and  vices  of  his  day  with  keen  satire. 


[  No.  91  ] 


"THE    SIESTA" 


JAN    STEEN 

This  picture  is  described  in  Smith's  Catalogue  Raisonne  as  follows :  "  A  man 
and  a  woman  seated  at  a  table  in  front  of  a  house  with  a  vine  growing  against 
it.  The  former  is  occupied  reading,  and  the  latter  is  reclining  her  head  on  the 
table,  asleep.  A  servant  stands  beside  her,  and  a  dog  is  seen  under  the  table." 
Dr.  Waagen,  in  his  "Art  Treasures  in  Great  Britain,"  vol.  N.,  page  391, 
gives  the  following  description  :  "  A  man  and  his  wife  seated  in  a  bower  of 
vines  before  a  house  ;  they  have  dined,  and  the  dessert  is  on  the  table.  While 
the  woman  is  nodding,  the  man  has  taken  a  book,  and  a  maid  is  about  to  clear 
the  table.  The  background  is  a  landscape.  The  liveliness  and  characteristic 
point  of  the  representation,  the  transparency  of  coloring,  and  equable  and  care- 
ful execution,  place  this  among  the  choicest  works  of  the  master." 
Collection  of  M.  Smith  van  Alpen,  Rotterdam,  18 10;  collection,  Everett, 
1886;  and  Royal  Academy,  1886. 

Canvas,  30^  in.  long  iy  23  in.  high. 


[  No.  92  ] 

JAN    STEEN 

Dutrli  School 


[No.  92  ] 

"CHRIST    DRIVING    THE    TRADERS    FROM    THE 

TEMPLE" 

JAN   STEEN 

This  picture  contains  many  striking  figures  which  illustrate  the  great  originality 
of  the  artist,  as  well  as  his  keen  appreciation  of  human  nature.  Christ  is  the 
central  object,  and  has  just  overthrown  a  table  at  which  an  old  Israelite  has 
been  sitting  with  his  desk  and  parchment,  husbanding  a  strong  box  that  con- 
tains his  wealth.  He  is  represented  as  thrown  on  his  back  on  the  floor  beside 
his  chest  of  money,  while  his  little  daughter  tries  to  save  the  desk  from  a  like 
fate.  All  around  is  confusion.  The  money-lenders  are  gathering  up  their 
coin  in  great  haste ;  a  woman  hurries  her  eggs  into  a  basket ;  a  man  climbs  a 
ladder  to  get  down  his  cage  of  birds ;  and  a  woman,  with  a  pig  under  her  arm 
and  a  jug  in  her  hand,  watches  her  opportunity  to  get  out  of  the  way.  A 
rough-looking  fellow  carries  a  basket  on  his  shoulder  with  one  hand ;  with 
the  other  he  holds  a  dead  goose,  and  is  ready  to  make  his  escape.  One  of 
the  peculiarities  of  the  picture  is  the  manner  in  which  Christ  is  portrayed 
—  so  different  from  the  Italian  school.  The  latter  uniformly  pictures  him  as 
of  mild  character,  while  the  Dutch  depict  him  as  a  master  and  severe  ruler. 
Collection  of  M.  Malfait  de  Lille ;  Duchesse  de  Berry,  Paris ;  Lemaitre, 
Paris ;  and  G.  Rotham,  Paris. 

Signed   on   the  parchment,   lying   on   the  floor  beside   the   money-box :    "  J. 
Steen  1675." 

Canvas,  43  in.  long  by  31  in.  high. 


[  M-  93  ] 

JAN    STEEN 

2Dutcfj  £d[jool 


[  No.  93  ] 


"THE    FALSE    PLAYERS" 

JAN    STEEN 

This  picture  is  called  "  Card  Players"  in  Smith's  Catalogue  Raisonne,  Supple- 
ment, page  503,  No.  jy,  and  is  described  as  follows :  "  A  company  consisting 
of  three  women  and  a  like  number  of  men  are  assembled  in  a  room.  One  of 
the  former  is  seated  at  a  table  with  cards  in  her  hand,  and  on  the  left  is  a 
sharper,  who  is  eyeing  the  cards  of  his  adversary  in  a  looking-glass  held  by  a 
woman  over  the  head  of  the  dupe,  and  the  latter  is  too  intent  on  the  game  to 
observe  it.  Behind  the  former  lady  a  young  man  sits  smoking  a  pipe,  and  a 
jolly  woman  stands  behind  him.  Painted  in  the  artist's  finished  manner." 
Collection,  N.  Bailie,  Esq.,  1831;  collection,  Charles  Brind,  Esq.,  and  from 
the  Odiot  collection,  Paris. 

Panel,  19^  in.  long  by  14^  in.  high. 


[  No.  94  ] 

JAN    STEEN 
2Dutrf)  J>cJjool 


[  No.  94  ] 

"BOORS    MERRYMAKING" 

JAN    STEEN 

Smith's  Catalogue  Raisonne,  A,  part  ix.,  page  496,  number  59,  mentions  this 
picture  as  follows  :  "  A  Village  Fete."  "  This  capital  picture  shows  a  rendez- 
vous of  about  thirty  villagers  assembled  in  front  of  a  small  rustic  ale-house  in 
the  vicinity  of  a  Dutch  town  ;  the  artist,  nothing  loath  on  such  occasions,  has 
introduced  himself,  with  his  wife  and  child,  on  the  right  of  the  foreground ; 
the  former,  a  jovial  good-humored  man,  is  seated  on  the  ground,  evidently  jok- 
ing with  an  old  man  of  whom  he  is  buying  some  shrimps;  his  wife,  dressed  in 
a  crimson  gown,  sits  on  his  left  with  a  fine  chubby  boy  at  her  breast,  and  behind 
them  is  their  eldest  son,  quite  delighted  with  his  hat  full  of  cherries.  Between 
these  are  several  couples  dancing  in  a  ring  to  the  music  of  a  hurdy-gurdy  and 
a  fiddler,  the  former  played  by  a  droll  old  fellow  and  the  latter  by  a  youth. 
The  view  here  is  bounded  by  a  house  in  front  of  which  are  several  peasants 
enjoying  their  pipes  and  pot.  Over  near  a  large  tree  in  the  centre  may  be 
noticed  a  well-dressed  man  shaking  hands  with  a  young  woman.  He  is  accom- 
panied by  an  elderly  woman  and  a  portly  gentleman,  and  the  latter  is  raising 
his  hat  to  salute  him.  In  addition  to  these  may  be  mentioned  a  gentleman  on 
a  gray  horse  in  conversation  with  a  lady  on  foot,  accompanied  by  a  child  and 
a  youth.  Other  groups  are  distributed  in  sections  over  the  scene,  extending  to 
the  entrance  gate  of  the  town.  The  effect  is  that  of  a  fine  evening." 
This  picture  was  painted  in  the  zenith  of  the  master's  talents,  and  abounds 
with  that  variety  of  characteristic  humor  which  yields  so  much  entertainment 
to  the  curious  observer. 

Imported  by  Mr.  Chaplin,  who  bought  it  in  1  836  of  a  gentleman  near  Leyden, 
in  whose  family  it  had  remained  from  the  time  it  was  painted.      Bought  by 
Mr.  Arteria  for  Edmund  Higginson,  Esq.,  of  Salt  Marsh  Castle. 
Signed  in  the  lower  centre:   "J.  Steen." 

Canvas,  70  in.  long  by  44  in.  high. 


[No.9S] 
LAMBERT   SUSTERMANN 

Born  at  Liege  in  1 505  ;  died  there  in  1 566.  His  real  designation  was  Lambert  Lombard. 
He  was  a  pupil  of  Mabuse,  and  afterwards  traveled  with  Cardinal  Pole  to  Italy,  where  he 
studied  the  pictures  of  Andrea  del  Sarto.  On  his  return  from  Liege  he  opened  a  school 
which  was  largely  attended,  and  was  the  means  of  diffusing  his  style  through  the  Nether- 
lands. He  was  also  professor  of  architecture,  engraving,  numismatics,  archaeology,  and 
poetry. 


[No.95] 


"PORTRAIT    OF  A   MEDICI   PRINCESS" 


LAMBERT  SUSTERMANN 

The  picture  is  life  size,  three-quarter  length.  The  princess  is  dressed  in  the 
conventional  style  of  the  fifteenth  century,  with  the  long  pointed  bodice  and 
voluminous  skirt.  She  wears  a  pearl  necklace  and  ear-rings,  with  strings  of 
pearls  on  her  wrists.  The  large  lace  collar  is  characteristic  of  the  period.  In 
her  right  hand  she  carries  a  fan,  and  on  her  second  finger  wears  a  ring.  Her 
left  hand  rests  on  the  edge  of  a  table. 

Canvas,  35  in.  long  by  45^  in.  high. 


[  No.  96  ] 

DAVID    TENIERS   (the  Younger) 
f  lemigfj  ^djool 

Born  at  Antwerp  1610;  baptized  in  the  Church  of  St.  Jaques,  December  15  ;  died  at 
Perck,  near  Brussels,  April  25,  1690.  Pupil  of  his  father.  Was  made  court  painter 
to  Archduke  Leopold  Wilhelm,  Governor  of  the  Netherlands,  and  settled  between  1648 
and  1652  in  Brussels,  where  he  was  received  into  the  Guild  in  1675.  He  was  the  prime 
mover  in  the  foundation  of  the  Antwerp  Academy  in  1663.  Equally  favored  by  Leo- 
pold Wilhelm's  successor,  Don  Juan  of  Austria,  who  is  said  to  have  studied  under  him. 
He  received  important  commissions  from  Philip  IV.  of  Spain,  and  marks  of  esteem 
from  Queen  Christina  of  Sweden,  and  the  great  people  in  England  and  other  countries. 


[  No.  96  ] 


"THE    LESSON    ON    THE    FLUTE" 


DAVID    TENIERS  (the  Younger) 

A  group  of  three  persons  —  two  men  and  one  woman  —  is  here  shown. 
The  woman  is  dressed  in  a  pink  bodice,  dark  petticoat,  and  light  apron,  and 
sits  on  a  rock,  holding  a  flute  in  her  hand,  while  a  man,  with  his  left  arm 
around  her  shoulder,  instructs  her  in  the  manner  of  placing  her  ringers  on  the 
instrument.  Sitting  at  her  feet  on  the  ground  is  a  man  holding  a  sort  of  a 
bagpipe.  His  red  staff  and  cap  are  beside  him,  and  his  head  is  turned  toward 
the  pupil.  Sheep  are  grazing  in  the  distance,  and  farther  on  the  village 
church  rises  above  the  shrubbery. 
Signed  in  the  lower  right-hand  corner:  "  D.  T."  in  monogram. 

Copper,  8  in.  long  iy  g}4  '"■  high. 


[  No.  97  ] 
DAVID    TENIERS  (the  Younger) 


[  No.  97  ] 


« THE    GUARD    ROOM  " 

DAVID    TENIERS    (the  Younger) 

A  young  man  with  long  auburn  hair,  dressed  in  gray  vest  and  breeches,  blue 
stockings,  and  yellow  shoes,  is  conspicuous  in  the  foreground.  He  is  leaning 
toward  a  drum,  which  he  is  in  the  act  of  beating  with  a  stick  held  in  his  right 
hand.  His  smiling  face  is  turned  a  little  to  the  right.  His  right  stocking 
and  shoulder,  as  well  as  his  face  and  white  cravat,  are  vividly  illumined.  On 
the  right,  in  front  of  a  large,  delicate  gray  wall,  a  panoply  of  steel  breastplates, 
helmets,  and  gauntlets  is  shown.  To  the  left  is  a  brown  howitzer,  mounted 
on  a  little  chariot.  In  the  background  five  soldiers  are  smoking  near  a 
vast  chimney,  and  two  others,  with  muskets  on  their  backs,  are  directing 
their  steps  toward  an  outlet  to  the  left.  Doctor  Waagen,  in  his  "  Art  Trea- 
sures in  Great  Britain,"  Vol.  N.,  page  387,  describes  this  work  as  follows: 
"  Teniers,  interior  of  a  guard-house.  In  the  foreground  a  soldier  trying  to 
drum.  A  good  picture,  slightly  but  spiritedly  treated  in  his  scale  of  cool 
harmony." 

Collection  of  Lord  Heytesbury. 
Signed  in  lower  left-hand  corner:   "  D.  Teniers,  F.,  1643." 

Copper,  2oJ/£  in.  long  by  16%  in.  high. 


[  No.  98  ] 

DAVID    TENIERS  (the  Younger) 
f  Iemi£f)  £cf)ooI 


[  No.  98  ] 


« TEMPTATION    OF    ST.    ANTHONY  " 

DAVID    TENIERS  (the  Younger) 

This  picture  is  described  in  Smith's  Catalogue  Raisonne,  Part  III.  page  392, 
No.  500,  as  follows  :  "  The  saint  is  represented  in  the  interior  of  a  large  cave, 
kneeling  at  his  devotions,  from  which  he  appears  to  be  diverted  by  a  hag  with 
horns,  who  is  directing  his  attention  to  a  pretty  female  with  a  glass  of  liquor 
in  her  hand.  A  crucifix,  skull,  book,  and  an  hour-glass  are  on  a  table,  and 
several  other  books  lie  on  the  ground.  On  the  opposite  side  are  two  elfs  sing- 
ing, and  a  third  is  riding  a  grotesque  animal.  Many  imaginary  creatures  are 
flitting  about  the  place  or  crawling  on  the  floor.  Painted  with  admirable 
spirit  and  freedom  of  hand.  Collection  of  Due  de  Deux-Ponts,  1778  ;  col- 
lection of  N.  Lapeyriere,  1824;  now  in  collection  M.  Perigeau-Lafitte." 
Engraved  by  Baron  and  Houston.  Collection  of  twenty-two  masterpieces,  Gal- 
lery St.  Donata,  1868  ;  collection,  Princess  de  Sagan. 
Signed  on  the  shoulder  of  cape  of  St.  Anthony:   "T." 

Copper,  30*4  in.  long  iy  2$y£  in.  high. 


[  No.   99  ] 

GERARD    TER    BORCH 

SDutcf}  ^tljool 

Born  at  Zwolle,  between  1613  and  1617;  died  at  Deventer,  December  8,  1681.  Pupil 
of  his  father.  Painted  in  Amsterdam,  and  also  in  Haarlem,  where  he  entered  the  Guild 
in  1635,  under  the  influence  of  Frans  Hals.  Traveled  through  Germany,  Italy,  Spain, 
England,  and  France,  and  painted  everywhere  portraits  and  genre  pieces.  In  1646-48, 
at  Munster,  he  became,  through  the  favor  of  the  Spanish  envoy,  the  painter  of  the 
Diplomatic  Circle.  He  followed  the  Spanish  envoy  to  Madrid,  where  he  painted  the 
king  and  many  courtiers  and  ladies.  He  returned  via  England  and  France  to  his 
native  country,  and  settled  at  Deventer,  where  he  obtained  a  citizenship  in  1655.  He 
afterwards  became  burgomaster.  He  was  the  inventor  of  the  satin  gown  so  much  used 
by  Mieris  and  Metsu. 


[  No.  99  ] 


"THE    GLASS    OF    LEMONADE" 


GERARD    TER    BORCH 

This  production  is  simple  in  its  arrangement,  and  interesting  in  its  conception. 
A  lady  dressed  in  a  yellow  satin  gown  is  the  principal  figure.  She  holds  a 
glass  of  lemonade  in  her  hand,  and  presents  an  air  of  expectancy.  She  wears  a 
loose  jacket  trimmed  with  swan's-down,  an  ordinary  dress,  and  a  black  covering 
for  her  head.  A  man  with  long  flowing  red  hair  sits  opposite  her,  stirring  the 
lemonade  with  a  knife.  The  other  prominent  figure  is  a  woman,  who  rests 
her  hand  on  the  shoulder  of  the  younger  woman.  To  the  right  is  a  table, 
upon  which  is  a  dark  water-bottle  and  a  dish. 

Canvas,  24^  in.  long  by  29  in.  high. 


[  No.  ioo  ] 
ARTIST    UNKNOWN 


[  No.  ioo  ] 


«  LANDSCAPE  " 

UNKNOWN 

A  landscape  is  shown  with  a  brown  and  white  cow  lying  down  in  the  fore- 
ground, while  another  stands  behind.  To  the  right  are  two  pigs  and  some 
chickens.  A  woman  is  also  seen  milking  a  black  cow.  In  the  background  is 
a  wooden  shed,  and  behind  it  a  brick  building  with  a  tower.  Trees  are  to  the 
left. 

Canvas,  26^  in.  long  by  19^  in.  high. 


[  No.  i  o  i  ] 

ADRIAEN   VAN    DE   VELDE 
2Dutd)  £djooI 

Born  in  Amsterdam,  1635  or  1636;  died  there  January  21,  1672.  Pupil  of  J.  Wynants 
and  Philips  Wouwerman.  Was  employed  to  paint  figures  and  animals  in  landscapes  by 
Hobbema,  Van  der  Heyden,  Hakkert,  Wynants,  Verboom,  and  Moucheron.  Showed 
even  as  a  boy  eminent  talent,  and  after  having  left  his  master  Wynants,  studied  figure 
drawing  and  further  developed  under  the  influence  of  Paulus  Potter.  He  is  almost 
equally  important  as  a  painter  of  figures  in  the  landscapes  of  famous  contemporaries. 


[  No.  101  ] 


"LANDSCAPE    WITH    FIGURES    AND    CATTLE" 


ADRIAEN    VAN    DE   VELDE 

This  is  one  of  Van  de  Velde's  choicest  works.  A  light  brown  cow  is  shown 
in  the  foreground  to  the  right,  standing  in  shallow  water.  Behind  her  is  a  dark 
brown  cow  with  a  light  mottled  head,  rubbing  it  against  a  large  tree.  A 
woman  with  a  blue  dress  and  a  red  and  white  waist  is  seated  on  the  ground 
holding  a  baby,  while  beside  her  sits  a  child  in  a  red  dress  holding  a  little 
dog.  To  the  left  are  two  sheep  lying  down.  A  shed  is  also  to  be  seen  at 
the  left.     White  clouds  in  the  distance. 

Panel,  1 8  in.  long  by  I  5  in.  high. 


[  No.  102] 

ADRIAEN    VAN    DE   VELDE 
SDutd)  £>cfyool 


[  No.  1 02  ] 


"NOON-DAY    REST" 

ADRIAEN   VAN    DE   VELDE 

The  picture  shows  a  man  sitting,  while  a  woman  with  a  basket  in  her  hand  is 
standing  beside  him.  A  red  cow  with  a  white  face  is  lying  on  the  ground, 
and  another  cow  behind  it  near  a  large  tree.  There  are  also  two  sheep,  two 
goats,  and  a  dog  lying  on  the  ground.      Hills  in  the  distance. 

Panel,  1 2  y2  in.  long  by  1 5  in.  high. 


[No.  103  ] 

WILLEM    VAN    DE    VELDE   (the  Younger) 
SDutcfj  J»cfjooI 

Born  in  Amsterdam  in  1633  ;  died  at  Greenwich,  April  6,  1707  ;  buried  in  St.  James' 
Church,  Piccadilly.  In  1674  Charles  II.  granted  him  a  salary  of  ^100,  for  painting  sea 
fights,  which,  with  an  equal  pension  granted  his  father,  was  continued  by  James  II.  He 
was  the  greatest  marine  painter  of  the  Dutch  School. 


[No.  103] 


"CALM    ON    THE    BAY" 

WILLEM    VAN    DE    VELDE   (the  Younger) 

A  large  brig  —  with  sails  set  waiting  for  a  breeze  —  which  is  shown  at  the 
right,  has  been  employed  by  the  artist  to  emphasize  his  painted  story.  The  em- 
bellishments embrace  a  small  boat  with  a  single  sail ;  two  fishermen  in  a  boat, 
one  of  whom  is  about  drawing  in  his  net ;  two  vessels  with  a  single  sail  each, 
which  lie  close  together,  and  four  men  in  a  fishing-boat  rowing  across  the  bay. 
From  the  collection  of  N.  Steinmeyer,  Cologne. 
Signed  on  the  buoy  :   "W.  V.  Velde." 

Canvas,  26  in.  long  by  20  in.  high. 


[  No.  1 04  J 
WILLEM    VAN    DE    VELDE  (the  Younger) 


[  No.  104  ] 


«  FIRING   A  SALUTE" 

WILLEM    VAN    DE    VELDE    (the  Younger) 

A  man-of-war  lies  in  the  foreground  with  the  saluting  cannon  protruding  from 
her  side  ;   some  officers  in  a  pinnace  are  being  rowed  ashore.      Merchant  vessels 
are  lying  in  the  foreground.      The  sea  is  calm,  and  the  whole  scene  suggests  a 
soft  and  still  atmosphere. 
Signed  in  lower  right-hand  corner  :   "  W.  V.  Velde,  1654." 

Panel,  26^  in.  long  b\  19'^  in.  high. 


[No.  105  ] 

ANDREA    DEL    VERROCCHIO 
f  lorcnttne  <£>cf}ool 

Born  in  Florence,  1435  5  died  in  Venice,  June  25,  1488.  Pupil  of  Donatello.  His  real 
name  was  Andrea  da  Michele  di  Francesco  de'  Cioni.  Besides  being  a  painter,  he  was  a 
sculptor  and  a  goldsmith.  Among  his  pupils  were  Leonardo  da  Vinci  and  Pietro  Peru- 
gino.  He  died  while  at  work  on  the  statue  of  Colleoni  on  the  Piazza  San  Giovanni  e 
Paolo,  of  which  he  is  generally  conceded  to  be  the  sculptor. 


[No.  105  ] 


"MADONNA    AND    CHILD" 

ANDREA  DEL  VERROCCHIO 

On  a  background  of  flowers  is  shown  the  Madonna  holding  the  Child  on  her 
knee.  She  wears  a  red  dress,  over  which  is  thrown  a  black  velvet  cloak.  Her 
right  hand  is  extended  around  the  little  Christ,  and  her  left  hand  rests  on  his 
right  leg.     In  his  hand  he  holds  a  bird. 

Panel,  ^lY\  **■  l°n£  h  z"i^A  '*■  high. 


[No.  1 06  ] 

ANTHONIE   WATERLOO 
SDutcl)  £djooI 

Born  at  Lille  about  161 8;  died  at  Amsterdam  after  1673.  Landscape  painter,  whose 
works  are  distinguished  for  facile  treatment  and  faithful  representation  of  nature.  His 
aerial  perspective  is  always  good,  trees  and  plants  correct  in  color  and  of  great  variety. 
His  pictures  are  not  often  seen  out  of  museums. 


[No.  106] 


"IN    THE    FOREST" 

ANTHONIE   WATERLOO 

A  grove  of  trees,  with  massive  trunks  and  dense  foliage,  which  tell  of  their 
age,  impresses  the  casual  beholder.  Looking  beyond,  one  can  see  the  adjacent 
fields,  bathed  in  the  soft  light  of  a  summer  day,  which  present  a  beautiful  perspec- 
tive. In  the  foreground  is  a  pool  of  water,  upon  the  edge  of  which  a  number 
of  cows  have  come  to  drink.  The  man  in  charge  of  the  animals  stands  by 
and  is  talking  with  a  woman  mounted  on  a  mule.  In  the  upper  left-hand 
corner  a  little  of  the  sky  is  visible.  The  animals  were  painted  by  Weenix. 
From  the  gallery  of  Prince  Galitzin. 
Signed  in  lower  right-hand  corner  :    "  A.  W." 

Canvas,  39^  in.  long  by  28  in.  high. 


[  No.  107  ] 

ANTOINE  WATTEAU 
f  rcnclj  cSdjool 

Born  at  Valenciennes,  October  10,  1684;  died  at  Nogent-sur-Marne,  near  Paris,  July  18, 
1 72 1.  He  entered  the  studio  of  Gillot,  at  Paris,  in  1702,  and  was  apprenticed  to  the 
decorative  painter,  Claude  Audran  III.  Was  received  into  the  Academy,  1717.  Mean- 
while he  had  continued  his  studies  in  copying  the  masterpieces  of  Rubens  and  Paolo 
Veronese.  His  great  reputation  rests  on  his  series  of  pictures  of  conventional  shepherds, 
shepherdesses,  dancers,  and  comedians.  Painted  with  unrivaled  freshness,  grace,  and 
charm.     Many  pictures  were  engraved  by  Thomassin,  Cochin,  and  Cardon. 


[  No.  1 07  J 

"THE    GARDEN    PARTY" 
ANTOINE  WATTEAU 

The  scene  presented  in  this  picture  is  the  entrance  to  a  vast  palace,  where  a 
large  party  of  cavaliers  and  ladies  are  assembled.  To  the  right  is  a  continua- 
tion of  the  front  archway,  which  is  supported  by  columns  of  white  and  blue 
marble  laid  in  blocks.  Two  statues  of  female  figures,  draped  from  the  waist 
down,  holding  vases  above  their  heads,  are  shown  to  the  right.  A  number  of 
people  are  seated  to  the  right  and  left,  engaged  in  conversation,  and  watching 
a  lady  and  gentleman  dance.  The  gentleman  dancer  faces  to  the  front,  and 
wears  blue  satin  short  clothes  and  a  red  hat ;  the  lady  is  facing  in  the  opposite 
direction,  and  is  dressed  in  pink  silk  of  the  time  of  Louis  XIV.  Two  youths 
are  reclining  on  the  marble  floor  to  the  left  ;  a  dog  is  in  the  foreground  to 
the  right,  and  a  little  spaniel  is  sporting  at  the  feet  of  one  of  the  ladies.  A 
small  greyhound  is  shown  playing  with  two  children  near  the  dancers,  and  a 
fountain  is  made  conspicuous  in  the  background. 

Canvas,  26^  in.  long  by  21  in.  high. 

Note.  — This  picture  was  engraved  by  Scotin,  and  painted  by  Watteau  for  Mr.  Glucq,  Counsellor  at  the  French 
Parliament.  It  was  lost  sight  of  for  a  number  of  years,  and  later  we  find  it  in  the  collection  of  Duke  de  Morny, 
the  prime  minister  of  Napoleon  III.,  in  whose  possession  it  remained  until  his  death.  On  June  3,  1865,  it  was 
sold,  with  the  balance  of  Duke  de  Morny's  collection,  and  afterwards  went  into  the  collection  of  Count  Daupias. 
From  there  it  went  into  the  collection  of  the  present  owner. 


[No.  108  ] 

PHILIPS    WOUWERMAN 
SDutcl)  £cl)ool 

Born  in  Haarlem  ;  baptized  May  24,  1619;  died  May  19,  1668.  Instructed  by  his 
father,  also  Jan  Wynants.  His  first  style  in  the  brown  tone,  —  his  horses  are  heavy  ; 
his  second  style  is  distinguished  by  the  pure  golden  tone  and  the  slender  build  of  his 
horses ;  and  his  third  by  the  prevalence  of  a  dull  silvery  tone. 


[  No.  108  ] 


"THE    WATERING    PLACE" 


PHILIPS    WOUWERMAN 

The  foreground  of  this  production  presents  a  number  of  horses,  conspicuous 
among  which  is  one  of  light  roan  color,  which  is  being  led  into  a  river  by  a 
man  mounted  on  another  horse,  which  is  drinking.  To  the  right,  one  of  the 
horses  has  slipped  sideways,  and  his  mount  is  being  thrown  into  the  water ; 
and  still  another,  carrying  a  rider  wearing  a  red  cap,  jumps  out  of  the  way, 
as  also  does  a  man  bathing.  To  the  left  a  man  and  a  boy  are  astride  of  the 
same  horse,  and  another  horse  is  shown  rearing,  which  gives  life  to  the  scene. 
Several  mountains,  a  castle,  trees,  and  an  arched  bridge  adorn  the  landscape. 
Described  in  Smith's  Catalogue,  vol.  i.  page  268,  No.  240. 
From  collection  of  Holderness,  1802;  collection  of  Earl  of  Breadalbane ; 
from  collection  of  the  Imperial  and  Royal  Chancellor,  G.  Preyer  of  Vienna. 
Signed  in  lower  left-hand  corner :   "  Phis,  (in  monogram)  W." 

Panel,  zoy2  in.  long  by  15^  in.  high. 


[  No.  109  ] 

JAN  WYNANTS 
2Dutrfj  £cl)ool 

Born  in  Haarlem  about  161 5;  died  about  1680.  Landscape  painter  whose  pictures  are 
characterized  by  a  certain  prosaic  truthfulness,  fine  aerial  perspective,  silvery-toned  back- 
ground, and  careful  execution  of  detail.    • 


[  No.  109  ] 


«  LANDSCAPE" 


JAN  WYNANTS 

To  the  right  are  sandbanks  which  rise  from  the  edge  of  the  river.      In  the 

foreground  are  two  men  and  a  woman.      One  of  the  former  carries  a  gun 

across  his  shoulder.     Two  men  are  fishing  from  the  bank  in  the  centre  of  the 

picture. 

Signed  in  the  lower  right-hand  corner:  "J.  Wynants." 

Panel,  1 3  )/2  in.  long  by  I  o  in.  high. 


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